:^ 



HOW TO BEHAVE 

AND 

HOW TO AMUSE. 




A HANDY MANUAL OF 

ETIQUETTE AND PARLOR GAMES. 

IN TWO PARTS. 



COMPILED BV 

G. H.^Sandison. 



^YIH 



it 



PUBLISHED BY 

tPSHE aSOFtlB^ZJsJN HERALD, 

Louis Klopsch, Proprietor, 

BIBLE HOUSE, NEW YORK. 



v 






.\^ -• 



n^ 



Copyright 1895, 
By Louis Klopsch. 



Press and Bindery of 
HISTORICAL PUBLISHING CO.. 

PHILADELPHIA. 



PREFACE. 



Etiquette has been tersely defined as " the ait 
©f doing the proper thing in the proper way." An 
acquaintance with the rules of etiquette is of the 
greatest service to all who are brought into contact 
with Society, and in these days few, if any, are 
wholly outside of the world of social usage and 
convention. 

In this little Manual, it is not intended to lay 
down, in the fullest sense, rules for the guidance 
of the reader in all stations of social life, but rather 
to furnish hints that may prove useful in dealing 
with those social events that are of most frequent 
occurrence. The etiquette of the parlor, the as- 
sembly chamber, the street, the social function, is 
something all should know, since to be ignorant 
concerning such matters is to class one's self as un- 
informed on many things that go to make up the 
sum total of everyday life, and to know and prac- 
tice which adds greatly to the pleasure of living. 
The well-bred man or woman is always welcomed, 
whereas the person who has no acquaintance with 
even the most ordinary social rules is quite differ- 
ently regarded by the majority of people. 

Nor is there any reason why an acquaintance 
with social usages should longer be confined, as in 
(") 



12 PREFACE. 

the past, to certain classes. The farmer's N>y, the 
intelligent mechanic and the humblest clerk ot 
artisan, in these days of widely-diffused knowledge, 
may familiarize themselves with the customs and 
observances of polite society to an extent that 
will go far toward placing them on a level with 
those who would otherwise be regarded as their 
superiors. Refined manners are the boundary line 
between the ignorant and the cultured, and it is 
within the power of all to aspire to belong to that 
class of men and women whose presence is always 
agreeable, and who combine, in rare degree, that 
charm of manners and morals which is always 
allied with true nobility of character. 



CONTENTS. 



How TO Behave:. Part L 



Anniversaries, Wedding 53 
A Young Girl's Social 

Life, 70 

Address, Polite Terms of 68 
Birthdays and Christen- 
ings 57 

BreaJifast Parties, . . 37 

Bowing and Salutation, 16 

Behavior in Church, . . 66 

Blushing, . , 82 

Christenings and Birth- 

^days, 57 

Correspondence, E t i - 

quetteof 64 

Church Weddings, . . .* 48 

Cards (see Invitations), . 46 

Calls and Calling Cards, 18 

Church, Behavior in . . 66 

Conversation, Art of . . 89 

Dinner Table, How to 

Set the 34 

Dress, Men's ...**.* 23 

Debut, Young Lady's . .' 27 

Dinner Parties, 30 

Diners, Notes tor ... . 36 

Dancing, 42 

Dozing in Public, ! .' * * 78 

Enjoy the Present Hour, 84 

Faulty Social Training, 6Q 

Feet, Causes of Deformed 80 

Gifts (5«e Wedding Gifts), 51 

"High Teas." .... 40 

Home Weddings, . . ! * 51 

Hands, Beautifying the 79 
Hands, Management of 

the 77 

Hint, A Useful 92 

Home Maxims, 87 

Innocent and Sinful 

Pleasures, 73 

Introductions, . ! .* i * 15 



(13) 



Invitations, ...«,,. 40 

Kettle-Drums, . . <?« 
Luncheons, .... 37 39 
Ladies' Cards, ..!.'.* 2I 

Make Home Attractive, 84 

Men's Dress, . . S 

Mock Modesty, . * ' ' 88 

Monopolizing Talkers* [ m 

Mourning Etiquette, . . 69 

Notes about Weddings, . 54 

Notes for Diners, . 35 

New Year s Calls, . . ] J 55 

Private Weddings, . . 51 

Posing for Effect,. . ' 7g 
Points on Being Weli 

Dressed, gj 

Servants, Treatment of. 77 

Sitting, Awkwardness in 81 

bmall Talk, when Tirnelv 89 

Stray Hints, . . fu 

Style of Cards, . '. ' ' ja 

Sunny Temper, A ' ' 85 

Superior Hostess, The! * 92 

Suppers, 37 

Tactful Hostesses, . . .* [ 70 

ie IS, . . , 07 

Teeth. Care of the* *. ' * si 

True Politeness, ... * 87 

Various Points on Deport- 
ment, go 

Value of Female Society 

to Man, gg 

Weddi'igs and Wedding 

Etiquette, ... 46 

Wedding Breakfasts,* *. ' 5a 

Wedding Gifts, ..... 51 

VVedding Anniversaries,. 53 

Wme Question, The 35 

Winking in Public, . [ [ 73 

Younsr l^ady's DSbut, . ] 27 

Youth, Enjoy Your . . , 91 



M 



CONTENTS. 



How TO Amuse:. Part IL 



PAGE 

All-around Story Game, . 103 

Anagrams, 270 

Ant and Cricket 132 

Answers to Conundrums, 262 

Art Exhibition, 213 

A Trip to Paris, 291 

Balancing a Pencil, . . . 104 

Beast, Bird or Fish?. . . 123 

Bouquet, 1()2 

Bean Bags, 114 

Boston, 119 

Blind-Man's Buff, .... 115 

Children, Amusing the . 141 

Clumps 131 

Crambo, 96 

Cross Questions, 98 

Charades, 283 

Counting Apple-seeds, . . 129 

Consequences, 122 

Conjuring Tricks with 

Coins, 220 

Conundrums and Riddles, 249 

Dancing Egg, 93 

Divided Pear, 101 

Doesn't Like Peas, ... 293 
Driving a Needle 

through a Cent, .... 107 

French Rhymes, . . » , 99 

Five Straw Pnzzle, ... 99 

Force of the Breath, . . Ill 

Funny Outlines, .... 296 

Games of Arithmetic, . . 143 

Going to Jerusalem, ... 114 

Going Shopping, .... 126 

Guessing Characters, . . 133 

Guessing Eyes and Noses, 123 
Globe, Rotation of the .138 
Hanging Without a Cord, 139 

Horse 121 

How, When and Where? 106 

Hunting the Ring, . . . 112 

Hit or Miss, 126 

I Love My Love, .... 107 

Lighting'the Candle, . . 130 

Living Pictures 155 

Location, Game of . . . 131 

Logogriphs, 272 

Magic Candle Extin- 
guisher, 134 



PAGB 

Magic Figures, ., ... 110 
Mary's Little Lamb, . , 295 
Mirror, The Broken, . . 135 
My Grandfather's Trunk, 106 

Magic Music, 113 

Mesmerizing, 122 

Miscellaneous Tricks, . . 233 
Needles and Pius Made 

to Float, 124 

Old Family Coach, ... 94 
Opticallllusions, .... 173 
Pictured Quotations, . . 97 
Pin, a Wonderful, ... 137 

Proverbs, 108 

Problem in Gymnastics, . 130 
•' Punch and Judy," . , 201 

Quotations, 95 

Queer Candlestick, ... 116 

Rebusses, 268 

Rooster, 121 

Rhymes 98 

Redeeming Forfeits, . . 131 

Scorpion, 140 

Shadows on the Wall, 125. 137 

Spin the Plate, 129 

Shadow Buff, 113 

Spinning a Cent upon a 

Needle Point 128 

Sleight of Hand 179 

Three Matches, 126 

Truth 123 

Throwing the Handker- 
chief, 115 

The Tailless Donkey, . . 119 

Tongue Twisters 103 

Tossing the Rings, . , . 109 
Water, Through the . . 139 
What D've Buv, ... 289 
"What, Sir! Me, Sir?" . 121 
Where is Your Letter 

Going? 100 

What is Your Age? ... 120 
Weisrhing a Letter with 

a Broomstick, .... 117 
Wax- Works Gallery, ... 162 
Word-making, ..*... 293 
Young Folks' Concert, . 295 
Zoetrope, a Parlor . . . 135 



HOW TO BEHAVE. 



Introductions. 

I/adies who are on a social equality are intro- 
duced to each other, and so also are gentlemen. 
The latter, however, are always presented to ladies. 

When the difference between the parties is a 
debatable one, it is the formal custom among many 
to say, ** Mrs. A., this is Mrs. H. ; Mrs. H., Mrs. A." 

Where a gentleman is presented to a lady by an- 
other gentleman, permission must first be secured 
from the lady, and afterward the presentation is 
made complimentary by tliis formula : '* Mr. 
Mortimer desires to be presented to Mrs. or Miss 
Fairfax." Or if the individual making the pre- 
sentation desires the unknown parties to become 
acquainted for his or her own personal reasons, 
this form can be used : ** This is Mr. Mortimer, 
Mrs. Fairfax. It gives me pleasure to present him 
to you.** The married lady, if she be glad to know 
Mr. Mortimer, says so frankly and thanks the pre- 
senting party, after which the latter retires. The 
young lady expresses a polite recognition of the 
gentleman presented, by bowing, smiling, and 
mentioning the name of the new acquaintance as a 
response. The expressed gratification must come 
from the gentleman, who will say some compli- 
mentary thing to her in regard to the ceremony. 

Hand shaking is not so common as it was for- 
merly. 

In introductions generally the younger is intro- 
duced to the elder, except when a publicly admitted 
superiority exists. The unknown is always pre- 
sented to the famous. The single lady is intro- 



i6 HOW TO BKHAVK. 

duced to the married one, and the single gentleman 
to the married, other things being equal. 

A person must conduct himself or herself, while 
remaining in a house on invitation, as if there were 
no more exalted society than that presen t. 

To converse above the comprehension of others is 
an unpardonable egotism, and to try to give the 
impression that superior surroundings are the only 
ones with which you are familiar is evidence to the 
contrary. 

Bowing and Sai^utations. 

Bowing means recognition and nothing else, and 
it is the lady's prerogative to offer this, and the 
gentleman's to accept it. Between intimate friends 
it is immaterial which bows first, the gentleman or 
lady. The lady may be distant or cordial in her 
salutation, and the gentleman must be responsive 
to her manner, and claim no more attention than 
she offers. 

If a gentleman lifts his hat and stops after a lady 
has recognized him, he may ask her permission 
to turn and accompany her for a little, or even a 
long distance. Under no circumstances should he 
stand still in the street to converse with her, or be 
offended if she excuse herself and pass on. 

At entertainments a gentleman who is a formal 
acquaintance waits for the lady-guest to recognize 
his presence. 

On entering a parlor to pay a visit, a gentleman 
should always carry his hat, leaving overshoes, 
overcoat, and umbrella in the hall if it be winter 
time. The lady rises to receive him, unless she is 
an invalid, or aged, in which case she receives him 
seated. If she extends her hand to him, he takes 
it, but does not remove his glove. He never offers 
his hand first. If it be a brief call, and others 
are present, he seldom seats himself, and takes 



BOWING AND SALUTATIONS. 17 

leave very soon after another gentleman enters, 
the lady not extending her hand a second time. 
Hand-shaking is falling into disuse in ordinary 
visits. 

A lady should never accompany a gentleman to 
the door of the drawing-room, much less to the 
vestibule, unless she entertains a special regard for 
him. She introduces him to no one, unless there 
be some reason why this formality should take 
place ; and he talks with her other guests just as if 
he had met them before. No after recognition is 
warranted between gentlemen, or between ladies. 
If the parties desire to be presented to each other, 
the hostess should not refuse this formality if asked 
to perform it. 

There may be cases when a gentleman may lift 
his hat to a lady, even though he cannot bow to 
her. 

It not infrequently happens when gentlemen are 
driving, that they cannot touch their hats because 
too closely occupied ; but a cordial bow satisfies 
under such circumstances. When riding in the 
saddle he may lift his hat, or touch its rim with his 
whip. Etiquette permits either style of greeting. 

In passing a group of mourners at a door-way, 
where their dead is being carried forth, or a funeral 
procession in a quiet street, a gentleman should un- 
cover his head. 

A gentleman should always lift his hat when ten- 
dering a service, however slight, to a strange lady. 
It may be the restoration of handkerchief or fan, 
the receiving of her change, opening her umbrella 
or any other courteous act. To say *' Thank you 1 '* 
is not now considered necessary ; it has ceased to 
be etiquette. 

A gentleman will open a door for a strange lady, 
hold it open with one hand and lift his hat with the 
other, while she passes through. He always quickly 
offers her the precedence. 



i8 HOW TO BBHAVB. 

A gentleman who is walking in the street with a 
lady, touches his hat, and bows to anyone she 
salutes in passing. This is done in compliment to 
her acquaintance, who is most likely a stranger to 
him. If accompanying her across a drawing-room, 
and she bows to a friend, he inclines his head also 
but does not speak. He always raises his hat when 
he begs a lady's pardon for an inadvertence, whether 
he is known to her or not. 

Cai,i,s and Cai,3;ing Cards. 

It is a rule among the best people to call upon 
the stranger who is in town. If the visitor brings 
letters of introduction, an entree to society is easy 
through the usually observed forms. If strangers 
who have come to reside near us, or even to visit 
our locality, bear credentials of respectability, 
courteous and hospitable residents will call upon 
them, after sufficient time has elapsed for the re- 
cently arrived to have adjusted themselves to their 
new positions. No introduction is necessary in 
such a case. The resident ladies call between two 
and five o'clock, send in their own with their hus- 
bands* or their fathers* or brothers* cards, and if 
they find the strangers disengaged, a brief and cor- 
dial interview ends the first visit. This must be 
returned within a week, or a note of apology and 
explanation for the omission is sent, and the return- 
visit is then paid later on. If a card be sent in 
return for this visit, or is left in person without an 
effort to see the parties who have made the first 
visit, it is understood that the strangers prefer soli- 
tude, or that there are reasons why they cannot 
receive visitors. 

A gentleman should not make a first call upon 
the ladies of the family of a new-comer without an 
introduction or an invitation. 

When should a lady call first on a new desira- 
ble acquaintance ? She should have met the new 



STYLE OF CARDS. 19 

acquaintance, should have been properly intro- 
duced, and should feel sure that her own acquaint- 
ance is desired. The oldest resident, the one most 
prominent in society, should call first. Good ex- 
pedient for a first call is the sending out of cards, 
for several days in the month, by a lady who wishes 
to begin her social life in a new place. These may 
be accompanied by the card of some well-known 
friend, or they may go out alone. If they bring 
visits or cards in response, the beginner has started 
on her career with no loss of self-respect. First 
calls should be returned within a week. 

After a dinner-party a guest must call in person 
and inquire if the hostess is at home. For other 
entertainments the lady can call by proxy, or sim- 
ply send her card. In sending to inquire for a per- 
son's health, cards may be sent with a courteous 
message. No first visit should, however, be re- 
turned by card only. 

Bachelors should leave cards on the master and 
mistress of the house, and the young ladies. To 
turn down the corners of the card has become 
almost obsolete, except, perhaps, where a lady 
wishes it understood that she called in person. 
The plainer the card the better. A small, thin card 
for a gentleman, not glazed, with his name in small 
script and his address well engraved in the corner, 
is in good taste. A lady's card should be larger, 
but not glazed or ornamented. 

Styi,:^ oif Cards. 

Ladies' cards should be nearly square (about 
2^x3 inches), of smooth-finished card-board, me- 
dium weight, pearl-white in color, and the engrav- 
ing plain script. 

A gentleman's card is smaller and narrower, 
(about i>^ X i^i inches), of heavier card-board, and 
the engraving larger and somewhat heavier. 



20 HOW TO BEHAVE. 

If the surname is short, the full name may be 
engraved. If the names are long, and the space 
does not admit of their full extension, the initials 
of given names may be used. The former style is 
preferred, when practicable. In the absence of any 
special title properly accompanying the name — as 
**Rev.,'» '*Dr./' *'Col.," etc.,— ''Mr.'' is always 
prefixed. Good form requires this on an engraved 
card. If in any emergency a man writes his own 
name on a card he does not prefix ' ' Mr. ' ' 

Omit from visiting-cards all titles that signify 
transient ofiices, or occupations not related to social 
life ; using such titles only as indicate a rank or 
profession that is for life ; and which has become 
a part of the man's identity, or which is distinctly 
allied to his social conditions. Thus : the rank of 
an ofiicer in the army or the navy should be indi- 
cated by title on his card. His personal card is 
engraved thus : *' General Green "—the title in full 
when only the surname is used ; or, "Gen. Win- 
field Green," *'Gen. W. S. Smith"— the title 
abbreviated when the given names, or their initials, 
are used. Officers on the retired list, and veteran 
officers of the late war who rose from the volunteer 
ranks, retain their titles by courtesy. The official 
cards of political officers and ambassadors, with 
the title and office of the man — with or without his 
name — should be used only on official or State occa- 
sions, and during the term of office. 

Professional or business cards that bear ever so 
slight an advertisement of occupations are not 
allowable. The three "learned" professions, the- 
ology, medicine, and law, are equally ** for life," 
and should appear on the card. On the other hand, 
the callings of the clergyman and the physician 
respectively, are closely allied to the social side of 
life, closely identified with the man himself. There- 
fore "Rev.," or "Dr." may with propriety be 
considered as forming an inseparable compound 



CARDS FOR IvADlBS. 21 

with the name. The title is an important identify- 
ing mark, and its omission, by the clergyman, at 
least, is not strictly dignified. 

It is not good form to use merely honorary titles 
on visiting-cards. In most cases, a man should lay 
aside all pretension to special office or rank, and 
appear in society simply as *' Mr. John Brown.** 
An engraved address implies some permanency of 
location. Those who are liable to frequent changes 
of address would better omit this addition to the 
visiting-card, writing the address in any emergency 
that requires it. No messages should be written 
on a man's card, and no penciling is allowed, ex- 
cept as above, to give (or correct) the address, 
or in the case of **P. P. C.** cards, sent by 
post 

Cards for I^adies. 

A woman's name should never appear on a visit- 
ing-card without either **Mrs.'* or *'Miss** pre- 
fixed. The exception would be in the case of 
women who have regularly graduated in theology 
or medicine. Such are entitled, like their broth- 
ers, to prefix **Rev.** or *'Dr.'* to their names. 

A married woman's card is engraved with her 
husband's name, with the prefix * ' Mrs. ' ' No mat- 
ter how ** titled" the husband may be, his titles 
do not appear on his wife's visiting-card. The wife 
of the President is not ** Mrs. President Washing- 
ton , * ' but * * Mrs. George Washington. * ' 

A widow may, if she prefers, retain the card en- 
graved during her husband's lifetime, unless by so 
doing she confuses her identity with that of some 
other lady whose husband is still living. It is more 
strictly correct for a widow to resume her own 
given name, and to have her card so engraved. 
An unmarried woman's card is engraved with her 
full name, or the initials of given names, as she 
prefers, but always with the prefix ** Miss.** The 



22 HOW TO BEHAVE. 

address may be engraved or written in the lower 
right corner. 

If a society woman has a particular day for re- 
ceiving calls, that fact is announced in the lower 
left corner. If this is engraved, it is understood to 
be a fixed custom ; if written, it may be a transient 
arrangement. If a weekly **at home '* day is ob- 
served, the name of the day isengraved, as ** Tues- 
days.'' This means that during ** calling hours'* 
on any Tuesday the hostess will be found at home. 
A holiday, a birthday, a wedding anniversary, or 
other event in a friend's life may be remembered by 
sending a card, upon which is penciled ** Greet- 
ing," ** Congratulations," Best wishes," or some 
similar expression. Such cards may be sent alone, 
or may accompany gifts. 

Any brief message may be penciled on a woman's 
card, provided the message is sufficiently personal 
to partake of the nature of a social courtesy. But 
the card message should not be sent when courtesy 
requires a note. 

In strictly formal circles a young woman, during 
her first year in society, pays no visits alone. She 
accompanies her m.other or chaperon. She has no 
separate card, but her name is engraved, or may be 
written, beneath that of her mother (or chaperon) 
on a card employed for these joint visits. After a 
year or so of social experience the young woman 
has her separate card, subject to the general rules 
for ladies' cards. 

During the first year after marriage cards en- 
graved thus: **Mr. and Mrs. James Wills Gray," 
may be used by the couple in paying calls, or re- 
turning wedding civilities. Such cards are also 
Uv<;ed when jointly sending presents at any time. 
For general visiting, after the first year, husband 
and wife have separate cards. 

Cards are to be left in person in the following 
cases : After a first hospitality, whether accepted 



MEN'S DRESS. 23 

or not ; calls of condolence, and afler-dinner calls 
by cards. In such cases, when personal card-leav- 
ing is impossible, the card is sent by a private 
messenger, and an explanation, or apology, sent 
by note. Cards of condolence may b2 sent by mail 
by friends at a distance ; but not by persons resid- 
ing in the near vicinity. I n cases where personal 
card-leaving is not imperative, cards may be sent 
either by messenger or by mail. 

Social observance allows a man to delegate the 
distribution of his visiting-cards to a near female 
relative, whenever it becomes impracticable for 
him to attend to the matter personally. Only the 
women of his own household, or a relative with 
whom he habitually pays visits, can thus represent 
him by proxy. 

Mean's Dre:ss. 

Good clothes are not alone sufficient to gain one 
admittance to the better circles of society, but 
without them admittance is impossible. When we go 
out into the world, it is not sufficient to do as others 
do, we must also dress as others dress. The man 
is best dressed whose dress attracts least attention. 
One's dress must be seasonable, appropriate, con- 
form to the prevailing fashion, without going in the 
least beyond it, and appear to be comfortable. 

To dress well requires sense, taste and refine- 
ment. Dress is a safe index of character, and few 
dress really well that would not be considered per- 
sons of culture. The golden rule is to avoid ex- 
tremes. The man of sense and taste never wears 
anything that is *'loud," flashy, or eccentric; he 
yields always to fashion, but is never a slave 
to it. 

One good suit of clothes does more service than 
two cheap suits. The low-priced suit never looks 
well, while the high-priced suit looks well to the 



24 HOW TO BEHAVIi). 

last, if kept clean and occasionally pressed into 
shape. 

Linen is a test of good taste. Shirts should fit 
well and be of good quaUty. Let your collars 
always be strictly within the fashion ; cuffs should 
be no larger than is necessary to admit of slipping 
the hand through them when buttoned. Colored 
shirts may be worn traveling, in the country, but 
most men of taste prefer white. The pattern of 
colored shirts should be small and the color quiet. 
If the coat, trousers and vest of business and morn- 
ing suits are not made of the same cloth, the coat 
and vest should be of the same goods, and darker 
than the trousers. Men who cannot spend much 
money with tailors should always select dark stuffs. 
A dark morning suit may be worn on many occa- 
sions where the wearing of a light suit would be 
in bad taste. 

Single-breasted overcoats, made with a *'fly," 
are most worn, and most desirable. A man of taste 
always selects for his overcoats dark, quiet colors. 
His boots and shoes are made long, broad in the 
sole and in the shank, and with a big and only 
moderately high heel. Pinched toes are an abom- 
ination. The shoe that does not look comfortable 
never looks well. There are many women who 
wear shoes that distort the feet and are most un- 
comfortable ; such shoes, however, are rarely, if 
ever, seen on the feet of well-bred ladies. 

A man's hat should be fashionable, and his jew- 
elry should be good and simple. False jewelry is 
vulgar. A watch, to be thoroughly in good taste, 
should never be very large, nor very thick, nor 
elaborately chased, nor should it have a hunting- 
case unless his business or pleasure renders him 
liable to break a crystal, when he is out of the easy 
reach of a jeweler to replace it. The watch chain 
should always be small and the pattern plain. In- 
deed, the young man who wears a big elaborate 



MEN'S DRESS. 25 

chain and attaches it in one of the lower button- 
holes of his vest has made an egregious blunder. 
Watch chains that go around the neck are no longer 
worn. The vest chain should be attached nearly 
as high up as it will reach, in a button-hole. If a 
locket or seal is worn, it should be very plain. A 
man's ring should be on the third finger of the left 
hand. All kinds of rings are worn by men except 
cluster nngs; they arti worn by women only. 
Scarf-nngs and collar-buttons with settings are in 
doubtful taste. Diamond studs are now very little 
worn by men of the better sort, and they never 
wearthem except with full evening dress. Three 
studs in a dress shirt are to be preferred to one. 
Imitation diamonds are the extreme of vulgarity. 

Nowadays, with few exceptions, men wear the 
hair very short, and the exceptions are not found 
among men of taste. The most artistic and becom- 
ing cut is that that trims the hair very short on the 
sides and back of the head, and leaves it compara- 
tively long on the top, for the reason that a high 
head is always more pleasing than a low, broad one. 
The * ' parting » » should be high up— in the middle, 
If cne chooses to put it there. Pomatums and other 
inventions of the barbers are no longer used. Most 
men look best with a full beard, if it is kept prop- 
eriy trimmed and is well cared for. A man with 
a beard that reaches down over his chest, or a 
moustache so long as to be in his way, is a disgust- 
ing object to look on. If a man shaves a part of 
the face only, he should shave that part that is 
most prominent. A man with a prominent chin 
and thm cheeks should shave his chin and let his 
beard grow on the sides of his face ; on the other 
hand a man with a retreating or a light chin and 
tuU cheeks should shave his cheeks and let his 
beard grow on his chin. In short, the beard should 
bejK) trimmed, if worn full, or so cut, if only a 
pa** is worn, as to give regularity to the outline of 



26 HOW TO BBHAVK. 

the face. Every man, no matter who he is, should 
learn to shave himself quickly and well. Shaving 
should be as much a part of the regular morning 
toilet as the brushing of the hair. Much depends 
on having a good strap and knowing how to use it 

The finger nails should be kept moderately long, 
and be so cut that they are a little more pointed 
than the upper ends of the nails are. They should 
not be scraped, and in cutting, care should be taken 
not to encroach too much on the angles. 

Canes should be strong, plain, stiff, light and 
small. Very big canes are in very bad taste, 
especially for young men. 

A full-dress suit consists of a swallow-tailed coat, 
a low, white or black single-breasted vest, black 
trousers, a white necktie, a stand-up collar, a high 
black hat, and a pair of light kid gloves. This 
dress should never be worn until evening, and never 
before the dinner hour. A white necktie should 
not be worn except with a full-dress suit, save by 
clergymen and a few elderly men who never wear 
any other color. Black trousers should not be 
worn except with a dress coat, save at funerals. A 
high hat should not be worn with a sack coat, A 
low hat should not be worn with a long coat — a 
double-breasted frock, for example. Dark suits are 
preferable for Sundays, especially in town, and 
light suits should never be worn to church any- 
where. Double-breasted frock coats should always 
be black. 

At small informal gatherings most men regard 
themselves as sufficiently dressed when they wear 
black frock coats and dark trousers. At public en- 
tertainments where ladies wear bonnets, the man 
who wears a black frock coat, dark trousers, and 
light kid gloves is better dressed — ^because more 
appropriately — than he that wears a full-dress suit. 

No man who has any regard for the proprieties 
will ever appear at table, even at home, whether 



A YOUNG IvADY'S DEBUT, 27 

there are strangers present or not, or will show 
himself to any one with whom he is not on a famil- 
iar footing, in his shirt-sleeves. 

A Young Lady^s De;but. 

Social custom, both here and in Europe, has 
fixed the time for a girl's formal introduction to 
society as between the ages of seventeen and twenty. 
Abroad, the daughter's debut means much more 
than with ourselves, and the launching of a clever 
and prepossessing young girl into the fitful sea of 
social life is quite an important function. 

The mother invites only suitable people to her 
house, where she may present her daughter to them 
as a member of their circle. This act conveys the 
information to the polite world that the young lady 
has been graduated in all the accomplishments and 
knowledge necessary as the equipment of a woman 
of society. 

Just previous to her formal presentation or d^but, 
her mother and her elder unmarried sisters — if any 
— pay visits, or at least leave their own with their 
fathers' and brothers' cards, upon all acquaintances 
whom they intend to invite to be present at the 
d^but. Engraved invitations follow this formality, 
and they are issued about ten days previous to the 
event. If they are sent by mail, an extra outer 
envelope incloses all the invitations that are di- 
rected to one family. If delivered by messenger, 
the outer wrap is no longer used. The mail has 
become as suitable a method as any for conveying 
social messages. One envelope is directed to Mr. 
and Mrs. A. If there are more daughters than one, 
the address is, * * Misses A. , " or, if preferred, * * The 
Misses A. ' ' Each son receives a separate invitation ; 
it is the custom. Replies are sent in the names of 
the parties addressed on the envelopes. The invi- 
tation is engraved in script, or, if crest or cipher 



28 HOW TO BKHAVK. 

be used, it may be placed on the envelope, and is 
in form similar to that used forparties* CardshavQ 
been used on which the special purpose : pf -tjhe 
party is stated, with the name of the young lady 
who is to make her ddbut engraved upon them ; 
but this is seldom done, and is not considered in 
the best possible taste. The following is the formula 
if such a card is used : 



MR. AND MRS. B. N. JONES 

request the pleasure of presenting their 

eldest loT second y etc. ,^ daughter y 

Miss Ada Anna, 

to 

on Wednesday evening ^ April ii^ at half- 
past eight d* clock. 

No. 2002 Fifth Avenue. 



A preferable method is simply to inclose the card 
of the young lady in the envelope containing the 
invitation. 

The reply is written and forwarded directly, and 
•corresponds in style to the invitation, in the follow- 
ing manner: 



MR. AND MRS. B. DB PBYSTBR 

accept with pleasure 

Mr. and Mrs. B. N. Jone;s* 

kind invitation for Wednesday evening^ 

April nth. 

No. 969 Irving Place. March 12th. 



A YOUNG IvADY'S DEBUlr. 29 

The yoiing ladies use the same form, and com- 
mence their note with ** The Misses Jones,'* or in 
whatever style the invitation is sent to them. Young 
gentlemen follow the same custom. Intimate friends 
may seiid flowers on the day of the young girl's 
first appearance, if they please; but it is ^ot an in- 
flexible custom. 

The young lady stands at the left of the mother 
during the reception of guests, and is presented to 
her elders and to ladies. Of course, welcomes and 
brief congratulatory compliments are offered to her 
by each guest, and then place is made for the pre- 
sentation of others who are arriving. When supper 
is announced, the brother or father escorts the 
young lady to the table, and the mother follows,, 
accompanied by some honored gentleman guest. 
If the brother takes the young lady in, the father 
leads the way with the eldest or most distinguished 
lady of the party. 

Visits of ceremony paid to the hostess following 
this entertainment should include this young lady, 
but during her first season in society she has no 
card of her own, and does not pay formal visits 
alone. If she be the eldest unwed daughter, her 
name is engraved as Miss Jones, beneath that of 
her mother. If she have elder sisters at home, her 
name is engraved as Miss Ada Anna Jones. During 
this first season she does not receive visits from 
gentlemen without a chaperon under any circum- 
stances. If her mother be unable to receive with 
her, she politely declines a visit. After the first 
season, her own separate card may be left, either 
alone or with those of othermembers of her family. 
This formality past, she may be considered launched 
into the world of social intercourse. 

Young gentlemen on the other hand, enter so* 
ciety without formality, and without much diffi- 
culty. A youth usually begins by endeavoring to» 
assist his mother at her entertainments, and by 



30 HOW TO BBHAVB. 

being an escort to his sisters on informal evening^ 
visits among lady acquaintances where his agree- 
able traits win him a future invitation. 

Dinner Parties. 

Next to a wedding, there is probably no social 
duty that taxes to a larger extent the cleverness and 
originality of the mistress of a modern household 
than a fashionable dinner. As a preliminary step 
to such an event, she is careful to catalogue all 
the names of those to whom she desires to extend 
the hospitalities of her house. From all these she 
selects and groups those who will affect each other 
pleasantly. The differences in social conditions 
often go far toward deciding upon the groups, and 
the combinations of guests may be based upon 
tnental accomplishments, or family connection. In 
either case the etiquette is the same. 

To give a dinner in honor of some person, or ** to 
meet ' * a particular party, as the invitation should 
explain (provided the guest be not well-known and 
famous), has an especial advantage in that it settles 
who shall, and who need not, be present. This is 
a simple method of disposing of our first difficulty 
when issuing invitations. In such a case the card 
of invitation should be in the usual form with the 
addition of an extra card as follows: 



TO MEET 
MR. ARTHUR MAYNB, 

Of New Mexico. 



thus intimating that the dinner is to be given in 
his honor. The regular invitation should always 
be given in the name of the host or hostess, thus: 



DINNER PARTIES. 3s 



Mr. and Mrs. Ci^arence Fitch 
request the pleasure of 



company at dinner^ 
on 

at seven o"* clock. 
No. 94 Florida Avenue. 



The custom of engraving the initials, R. S. V. P. 
(Answer, it you please), on the lower left-hand cor- 
ner is less followed than formerly. Another and 
also quite proper form, when the dinner is given in 
honor of some distinguished person, is to issue an 
invitation in this style: 



MR. AND MRS. CIvARENCB FITCH 
request the pleasure of 

MR. AND MRS. ROBERT HENDERSON'S 

company at dinner^ on Tuesday^ 
January i2th^ at seven o'clock^ to meet the 

HON. MR. AND MRS. GREGORY. 

No. 94 Florida Avenue. 



The form used in writing an immediate reply is 
s follows: 



MR. AND MRS. ROBERT HENDERSON 
accept with pleasure. 

MR. AND MRS. CI.ARENCE FlTCH*S 

invitation to dinner^ at seven o'clock^ Tues- 
day evenings January 12, 



32 HOW TO be;havb. 

If unable to come, the refusal should be worded in 
a manner expressive of disappointment. Th4 fol- 
lowing is the popular style: | 



Mr. and Mrs. Robe:rt Henderson ; 

regret that a previous engagement 

[or illness, or an unfortunate event] 

prevents the acceptance of 

MR. AND MRS. CI^AR^NC:^ FITCH'S 

invitation for Tuesday evening, fanuary 12. 



The answer, whether affirmative or negative, 
should be addressed to the mistress of the house, 
arid dispatched, if possible, within twenty- four 
hours of the receipt of the invitation. Having ac- 
cepted an invitation, be punctual. **To be .too 
late is a crime, and to be too early a blunder.** 
You should not fail to arrive within a very few 
minutes after the time named, say within five, or 
ten at most. Well-bred people, and people that 
dine out frequently, make a point of arriving in 
good time. It is not well, however, to arrive before 
the hour named. On entering the drawing-room, 
go and pay your respects to the hostess, then to 
the other members of the family, and finally to any 
acquaintances present. Do not offer your hand 
either to hostess, host, or to any member of jthe 
family; any offer to shake hands should come fipm 
them. On leaving, offer your hand, if you chodse, 
to those of your entertainers that offered their hands 
to you when you arrived. But it is well to confine 
your leave-taking to the hostess and host. Do hot 
go the rounds and take leave of the whole com- 
pany individually; such a course is vulgar. If you 



DINNER PARTIES. 33 

have a lady with you, do not enter the drawing- 
room arm in arm nor side by side. The lady, or 
ladies will enter slightly in advance. 

Gentlemen do not wear gloves at dinner-parties. 

Dinner being announced, the hostess gives the 
signal to leave the drawing-room. The host or the 
hostess choose partners for their guests. Offer either 
arm to the lady. In entering at doors a gentleman 
takes the lead, until reaching the dining-room, 
when he may let the lady pass first. If there are 
steps, you may allow the lady to pass first, or you 
may go a step or two in advance. If you go down 
side by side, give her the side next the wall. 

In the dining-room, assist the lady to be seated, 
and wait till the other ladies are in place before 
taking your seat. The host remains standing until all 
are seated. He also selects the places for his guests. 

Sit erect and close to the table. Unfold your 
napkin and spread it over your lap, or over one knee, 
as you prefer. Before being served and during 
the intervals between the courses, do not toy with 
the knives, forks, or spoons, or with anything on 
the table. As soon as helped, begin to eat, but not 
hastily. Do not wait till your neighbors are served. 

Dinners usually begin with a soup. This, you 
should sip from the side of the spoon, without 
noise. Not only soup, but everything else eaten 
with a spoon should be sipped from its side when 
practicable. The plate should never be tilted to 
get the last teaspoonful. If the soup is too hot, do 
not blow it, but wait till it cools. In eating it sit 
upright, and do not rest your forearms on the table. 

Fish is eaten with a bit of bread in the left hand 
and a fork in the right. Neither soup nor fish is 
ever offered twice at a formal dinner. 

As the fork is now used almost exclusively to 
convey all kinds of food that have any consistency 
to the mouth, it is very desirable that one should 
know how to use it properly. It should not be used 



34 HOW TO BEHAVE. 

in the left hand with the tines pointing upwari 
Food conveyed to the mouth with the fork in the 
left hand should be taken up either on the point 
of the tines, or on their convex side. In the right 
hand, the fork may be used with the tines pointing 
uj)ward or downward, at will. It need hardly be 
said that eating with the knife is a social offence 
not to be overlooked. 

Eat peas with a dessert spoon, and curry also. 
Asparagus may be handled with the fingers of 
the left hand; also Saratoga potatoes and olives. 
Green com should be cut from the cob and then 
eaten with a fork. Cheese is eaten with a fork, or 
is placed, with a knife, on bits of bread and carried 
to the mouth with the thumb and finger. Pies and 
pdtiSy as a rule, are eaten with a fork only. Some- 
times it may be necessary to use a knife to divide 
the crust 

How TO Set th^ Dinner Tabi,^ 

There is no pleasanter sight than an artistically 
set dinner table just before the guests are seatea 
and the repast is served. To set it is, indeed, an 
art of itself. It should first be covered with a mat 
of double-faced cotton flannel wide enough to fall 
several inches below the edge, all around. This 
greatly improves the appearance of the table-cloth, 
which can be laid much more smoothly over this 
soft foundation. Small table mats for the purpose 
of protecting the cloth are not fashionable at pres- 
ent. The table-cloth should fall about half way to 
the floor all around. For a square or extra wide 
table a large floral centre-piece, either round or 
oblong, is usually chosen, with endless varieties in 
its component arrangement. It may be low and 
flat, like a floral mat, in the middle of the table, 
or may be lofty. Small fringed napkins of differ- 
ent colors are used with a dessert of fruits. Napkin 



THE WINE QUESTION. 35 

rings are discarded by many hosts. Fancy doy- 
lies of fine linen embroidered with silk are some- 
times brought in with the finger-bowls; but these 
are not for utility, the dinner napkin doing service, 
while the embroidered doyly adds a dainty bit 
of effect to the table decoration. Good quality of 
chinaware and artistic glassware are also essentiaL 
Any ostentation in the use of plated ware is vulgar. 
But one may take a pride and satisfaction in the 
possession of solid silver. Every ambitious house- 
keeper will devise ways of securing, little by little, 
if not all at once, a neat collection of solid spoons 
and forks. 

After the floral decorations and possibly a centre- 
piece of pond lilies or other flowers have been put 
in place, with fruits and bonbons to balance the 
flowers, and here and there at convenient points cut 
glass decanters of fresh sparkling water, the next 
step is the laying of the covers. The courses in 
their order are soup, fish, entrees (served on hot 
plates), roast (which is carved at the side table), 
and game fif in season). The heavy courses 
end, the table is swept for crumbs and dessert is 
brought in. Finger-bowls and doylies are brought 
in on the dessert-plates. Each person at once re- 
moves the bowl and doyly to make ready for what- 
ever is to be put on the plate. Strong coffee is 
served last of all, in small cups, fashion directing 
that cafk noir or black French coffee be used. 

Th^ Win^ Quejstion. 

The wine question is one that disturbs many a 
dinner-giving family. Shall wine be served or not» 
is a growing problem. Society has at last reached 
the point where it is not considered a breach of 
good form to serve a dinner without wine. Such a 
course is sanctioned by the example of many high 
social leaders; and when it is the result of a 



36 HOW TO BEHAVE. 

temperance principle it has the respect of every 
diner-out. No lady or gentleman will find fault 
with the absence of wine at his host's table. It is 
good form for a host to serve or not serve wine, just 
as he chooses. Apollinaris can be made to take the 
place of stronger waters, and no embarrassment 
follow. The hostess who simply does not offer 
wine to any guest under any circumstances, is using 
her influence effectively and courageously in the 
cause of temperance and in support of Christian 
principles. 

Notes for Diners. . 

At a dinner served in courses, it is better, as a 
rule, not to take a second supply of anything. It 
might delay the dinner. 

Bread should be broken, not cut in small pieces. 
To butter a large piece of bread and then bite it, as 
children do, is something the well-bred never do. 

In eating game or poultry do not touch the bones 
with your fingers. 

Never gCvSticulate with your knife or fork in your 
hand, nor hold them pointing upward, keep them 
down on your plate. 

A gentleman wears a dress suit at dinner. A lady 
wears a handsome gown, *' dinner dress" being 
** full dress; " differing, however, from the evening 
party or reception gown in the kind of fabrics used. 

Gloves are removed by both ladies and gentle- 
men, after being seated at the table, and they need 
not be replaced again during the evening. 

Never load tip your fork with food until you are 
ready to convey it to your mouth. 

Never send your knife and fork,- or either of 
them, on your plate when you send for a second 
supply. Do not hold them meanwhile in your 
hand, but lay them down, with something under 
them — a piece of bread, for example— to protect 
the table-cloth. 



BREAKFASTS, IvUNCHEONS, ETC. 37 

Don't use a steel knife to cut fruit if there is a 
silver one. 

Don't hold your elbows out; keep them close to 
your sides. 

When you eat fruit that has a pit or a skin that 
is not to be swallowed, the pit and skin must be re- 
moved from the mouth with the fingers of the left 
hand, or with a spoon or fork in the right. 

Tea, coffee, chocolate, etc., are drunk from the 
cup and never from the saucer. Never blow your 
tea or coffee; wait till it cools. 

Don't tip your chair, nor lounge back in it, nor 
hitch up your sleeves, nor call ''Waiter ! " nor try 
to talk with a full .mouth, nor masticate so loudly 
that others can hear you, nor lay bones or bits Of 
fruit on the table-cloth, nor pick your teeth at 
table. If you must do the last-mentioned, do it un- 
observed, if possible. Should you unfortunately 
overturn or break anything, make no apology, but 
let your regret appear in your face. Never fold 
your napkin where you are invited for one meal 
only, but lay it loosely on the table. When the 
ladies withdraw from the table, the gentlemen rise. 
Remain in the drawing room at least half an 
hour after dinner before bidding host and hostess 
good-by. 

Breaki^asts, IvUnchkons, Tkas and Suppers. 

These, and all similar entertainments of the "At 
Home ' * order, are much less formal than the din- 
ner event. The breakfast invitation should read in 
the customary form, and at the right hand lower 
corner the words: 

*' Breakfast at ten o'clock, 
March 15." 

This breakfast should not be elaborate, but dainty 
in its food and appointments. The best of every- 
thing, prepared in the choicest of styles, but 



38 HOW TO BEHAVE. 

nothing heavy, nor excessive in quantity, should be 
prepared. Walking costumes are worn by both 
gentlemen and ladies, also visiting-gloves, which 
are removed at table. The descent from the dress- 
ing-room and greetings between the hostess and 
guest are just the same as at a dinner-party. 

Suppers are usually gentlemen parties; and from 
nine to ten o'clock is the usual time for them to be 
served. There are game suppers, fish suppers, 
and several other kinds of suppers, each one of 
which diflfers in the appropriate supplies for the 
table. But the formalities of the occasion, or, 
rather, the informalities, are all of the same kind. 
The invitations may be made at interviews, by 
friendly notes, or by the host's visiting-card, with 
this, written upon it : 

SUPPER AT TKN O'CI^OCK, 

Thursday y September i6. 

If it is a fish supper, only little food except that 
which once lived in the water is provided; salads 
and fruits, without a sweet dessert, complete it, 
with the addition of coffee. 

It was surely a gracious social benefactor who intro- 
duced the afternoon reception which, between the 
hours of four and six, summons a host of friends to 
cross one's threshold and meet informally, over a 
social cup of tea, each group giving place to others, 
none crowding, jail at ease, every one accorded a 
gracious welcome from the hostess, who thus has 
tacitly placed each guest on her evening list for the 
season. The afternoon reception is much the same, 
whether it be a tea merely, or a musicale, or a literary 
occasion. Conversation and the chat of society, the 
greeting of friends, the tea and its pleasant accesso- 
ries, fill a half-hour or so very pleasantly. When a 
musicale is given, it is usually in honor of some 
favorite amateur, a pianist, singer or reader. Under 



IvUNCHEONS. 39 

guch conditions the invitation cards should be a 
little more explicit, and may state ** Music at 4," 
or whatever the feature of the reception or sociable 
may be. Tea is served in the same room, when the 
guests are few, and in another room if the recep- 
tion be crowded. Usually a single table is set, with 
coflfee or chocolate at one end, and tea at the other, 
served by young ladies. To be invited to preside 
at the coffee-urn, or tea-kettle, is accounted a high 
compliment. The refreshments may be very thin 
slices of bread and butter, or wafers, or similar 
trifles; but if the occasion approaches the nature of 
a formal reception a more elaborate preparation is 
made, and bouillon, oysters, salads, ice-cream and 
cakes, delicate rolls and bonbons may be offered, 

Luncheons. 

These are not as popular here as abroad, and the 
informal lunch is not yet fully appreciated in this 
country. In rural districts it is called early dinner, 
or ladies' dinner; in the city, when the gentlemen 
are all down town, it becomes the elaborate ladies* 
lunch. The invitations to luncheon are similar to 
those of a tea or reception, but the affair itself is 
even less formal. All the dishes should be light 
Broiled fish, broiled chicken, broiled ham, broiled 
steaks and chops, are always satisfactory. The 
house-keeper living near the sea has an ample store 
to choose from. The fresh fish, the roast clams, 
etc., take the place of the deviled kidneys and 
broiled bones of the winter; but every housewife 
should study the markets of her neighborhood. 

Thk Ke'TTlE-Drum. 

This is simply a reception under another name, 
which is given to signify that the entertainment is 
not so pretentious as a formal reception. The name 



40 HOW TO BKHAVB. 

"kettle-drum '* signifies to a metropolitan resi- 
dent, a light entertainment, with deini-toilette 
for both ladies and gentlemen. Sometimes a tiny 
drum is beaten at intervals in the vicinity of the 
tea-table, where a lady of the household or a friend 
presides. Sometimes a young lady, costumed pret- 
tily as a vivandiere sits or stands by the tea-urn as 
its presiding genius; but these picturesque additions 
to an ordinary afternoon reception are not to be 
considered in the light of customs, but simply as 
pretty caprices, calculated to ^wo. vivacity to the 
entertainment, which any lady may adopt. Not a 
few leaders in society choose the *' kettle-drum " 
because they dislike general gatherings, or are too 
absorbed to assist in entertaining evening guests. 
It is simply an ** at home ** in the daytime, or a 
social Tnatinee, 

**HlGH T^AS.'* 

The ** High Tea,'* as its name indicates, is a more 
formal and pretentious entertainment than the or- 
dinary afternoon tea. Special cards are engraved, 
and if any special entertainment is provided, the 
fact may be indicated by the words, '* Music,'* or 
** Miscellaneous Program" (when readings and 
music are interspersed). Or, the announcement 
may be omitted, and the program furnish a pleas- 
ant surprise for the guests. 

The card for a **musicale'* or similar occasion, 
is simply engraved: 



Mrs. John Jkroi^omon 

AT HOM^ 

Friday^ October ii^ from 
four to seven o^ clock. 

1269 Seventeenth Street. 



RECEPTIONS. -^i 

For a party or reception given in honor of another, 
the invitations should be engraved with a blank 
space left for the name of the invited guest; or, the 
form may be filled out, and the name of the guest 
appear on the envelope only. It may read: 



Mr. 


AND Mrs. 
request the 


Andrew Wytjk 
pleasure of 

»c 


wmpany on Tuesday evenings June sixths 

at nine o'clock^ 

to meet 

HON. W. W. BRACE. 

R. 5. V. p. 64 lyark Street. 



or, the wording may be ** request the pleasure of 
your company, * ' etc. The same form of invitation 
can be adapted to almost any reception, party or 
other social entertainment, with such variations as^ 
suit the circumstances. If a series of receptions^ 
are to be given, the lower line on the left of the 
card may be simply: 



Wednesdays in December, 
frofu three to seven o'' clock. 



42 HOW TO BEHAVE. 

Dancing. 

There is no phase of social life that contains so 
much of hidden peril as that which relates to 
dancing. Of itself, there is nothing sinful in 
dancing; but its associations and temptations, and 
the tendencies of modern dancing to frivolity, un- 
healthful dissipation and immorality are so obvious 
as to need no enumeration here. It is a positive 
detriment to the spiritual growth of young men and 
women, and is prolific of promiscuous acquaint- 
anceships that cannot be claimed to be safe or de- 
sirable for any young person having a serious 
object in life. The ball-room has to many thou- 
sands proved the first step to perdition. 

Of dancing, the Rev. Dr. Talmage has said: 

*' It is the graceful motion of the body adjusted by 
art to the sound and measures of musical instru- 
ment or of the human voice. All nations have 
danced. The ancients thought that Castor and 
Pollux taught the art to the Lacedsemonians. But 
whoever started it, all climes have adopted it. In 
ancient times they had the festal dance, the mili- 
tary dance, the mediatorial dance, the bacchanalian 
dance, and queens and lords swayed to and fro in 
the gardens, and the rough backwoodsman with 
this exercise awakened the echo of the forest. 
There is something in the sound of lively music to 
evoke the movement of the hand and foot, whether 
cultured or uncultured. Passing down the street 
we unconsciously keep step to the sound of the 
brass band, while the Christian in church with his 
foot beats time while his soul rises upon some great 
harmony. While this is so in civilized lands, the 
red men of the forest have their scalp dances, their 
green-corn dances, their war dances. 

** The exercise was so utterly and completely de- 
praved in ancient times that the church anathema- 



DANCING. 43 

tized it The old Christian fathers expressed them- 
selves most vehemently against it. St. Chrysostojtn 
says: * The feet were not given for dancing but to 
walk modestly, not to leap impudently like camels.' 
One of the dogmas of the ancient church reads: *A 
dance is the devil's possession, and he that entereth 
into a dance entereth into his possession. As many 
paces as a man makes in dancing, so many paces 
does he make to hell. ' Elsewhere the old dogmas 
declared this: * The woman that singeth in the 
dance is the princess of the devil, and those that 
answer are her clerks, and the beholders are his 
friends, and the music is his bellows, and the fid- 
dlers are the ministers of the devil. For as when 
hogs are strayed, if the hogsherd call one all assem- 
ble together, so when the devil calleth one woman 
to sing in the dance, or to play on some musical 
instrument, presently all the dancers gather to- 
gether.* This indiscriminate and universal denun- 
ciation of the exercise came from the fact that it 
was utterly and completely depraved. 

** How many people in America have stepped from 
the ball-room into the graveyard ! Consumptions 
and swift neuralgias are close on their track. Amid 
many of the glittering scenes of social life in 
America diseases stand right and left and balance 
and chain. The breath of the sepulchre floats up 
through the perfume, and the froth of Death's lip 
bubbles up in the champagne. 

** It is the anniversary of Herod*s birthday. The 
palace is lighted. The highways leading thereto 
are all ablaze with the pomp of Invited guests. 
I/>rds, captains, merchant princes, the mighty men 
of the land, are coming to mingle in the festivities. 
The table is spread with all the luxuries that royal 
purveyors can gather. The guests, white-robed 
and anointed and perfumed, come in and sit at the 
table. Music ! The jests evoke roars of laughter. 
Riddles are propounded. Repartee is indulged. 



44 HOW TO BEHAVE. 

Toasts are drank. The brain is befogged. The wit 
rolls on into uproar and blasphemy. They are not 
satisfied yet. Turn on more light. Pour out more 
wine. Music ! Sound all the trumpets. Clear the 
floor for a dance. Bring in Salome, the beautiful 
and accomplished princess. The door opens, and 
in bounds the dancer. The lords are enchanted. 
Stand back and make room for the brilliant gyra- 
tions. These men never saw such * poetry of mo- 
tion. * Their souls whirl in the reel and bound with 
the bounding feet. Herod forgets crown and throne 
and everything but the fascinations of Salome. All 
the magniiicence of his realm is as nothing now 
compared with the splendor that whirls on tiptoe 
before him. His body sways from side to side, cor- 
responding witn the motions of the enchantress. 
His soul is thrilled with the pulsations of the feet 
and bewitched with the taking postures and atti- 
tudes more and more amazing. After awhile he 
sits in enchanted silence looking at the flashing, 
leaping, bounding beauty, and as the dance closes 
and the tinkling cymbals cease to clap and the 
thunders of applause that shook the palace begin 
to abate, the enchanted monarch swears to the 
princely performer: * Whatsoever thou shalt ask of 
me I will give it thee, to the half of my kingdom.* 
At the instigation of her mother, Salome takes ad- 
vantage of the extravagant promise of the king 
and says, * Bring me the head of John the Baptist 
on a dinner plate. * Hark to the sound of feet out- 
side the door and the clatter of swords. The exe- 
cutioners are returning from their awful errand. 
Open the door. They enter, and they present the 
platter to Salome. What is on this platter ? A new 
glass of wine to continue the uproarious merri- 
ment? No. Something redder and costlier — the 
ghastly, bleeding head of John the Baptist, the 
death glare still in the eye, the locks dabbled with 
the gore, the features still distressed with the last 



DANCING. 45 

agony. This woman, who had whirled so grace- 
fully in the dance, bends over the awful burden 
without a shudder. 

* ' In my parish of Philadelphia there was a young 
woman brilliant as a spring morning. She gave 
her life to the world. She would come to religious 
meetings and under conviction would for a little 
while begin to pray, and then would rush off again 
into the discipleship of the world. She had all the 
world could offer of brilliant social position. One day 
a flushed and excited messenger asked me to hasten 
to her house for she was dying. I entered the 
room. There were the physicians, there was the 
mother, there lay this disciple of the world. I 
asked her some questions in regard to the soul. 
She made no answer. I knelt down to pray. I 
rose again, and desiring to get some expression in 
regard to her eternal interests, I said: * Have you 
any hope ? * and then for the first her lips moved 
in a whisper as she said: * No hope ! * Then she 
died. The world, she served it, and the world 
helped her not in the last. 

** With many life is a masquerade ball, and as at 
such entertainments gentlemen and ladies put on 
the garb of kings and queens or mountebanks or 
clowns and at the close put off the disguise, so a 
great many pass their whole life in a mask, taking 
ofiF the mask at death. While the masquerade ball 
of life goes on, they trip merrily over the floor, 
gemmed hand is stretched to gemmed hand, gleam- 
ing brow bends to gleaming brow. On with the 
dance ! Flush and rustle and laughter of im- 
measurable merry-making. But after awhile the 
languor of death comes on the limbs and blurs 
the eye-sight. Lights lower. Floor hollow with 
sepulchral echo. Music saddened into a wail. Lights 
lower. Now the maskers are only seen in the dim 
light. Now the fragrance of the flowers is like the 
sickening odor that comes from garlands that have 



46 HOW TO BEHAVE. 

lain long in the vaults of cemeteries. Lights lower. 
Mists gather in the room. Glasses shake as though 
quaked by sullen thunder. Sigh caught in the 
curtain. Scarf drops from the shoulder of beauty 
a shroud. Lights lower. Over the slippery boards 
in dance of death gUde jealousies, envies, revenges, 
lust, despair, and death. Stench of lamp-wicks 
almost extinguished. Torn garlands will not half 
cover the ulcerated feet. Choking damps. Chilli- 
ness. Feet still. Hands closed. Voices hushed. 
Eyes shut. Lights out. ' ' 

The dance must be classed with the wine-cup as 
the insidious enemy of a pure, upright, wholesome 
society. Pleasant and fascinating at first, it lures its 
victims to sacrifice after sacrifice until the end is 
reached. No man or woman was ever benefited 
morally, intellectually or physically by the dance ; 
thousands and tens of thousands have found it their 
bane, and date their ruin from the first step they 
danced to the music across the floor of a lighted 
ball-room. 

Wedding Etiquette. 

Invitations. 

Socially considered, marriage is the most impor- 
tant and imposing of all functions. It gives oppor- 
tunity for the greatest display, the most elegant 
toilets, and the most lavish and superb manner of 
entertainment. Yet singularly enough, the etiquette 
of weddings is probably more variable and subject to 
innovation than that of any other event in the social 
calendar. At no two grand weddings is the etiquette 
precisely the same. 

Wedding invitations according to present custom 
are consigned to the post from two to three weeks 
preceding the date of the event. Those sent to 
friends and relatives abroad are sent quite three 



WEDDING ETIQUETTE. 47 

weeks earlier. A representative invitation is given 
below: 



Mr. and Mrs. Chari^es F. Browne 
request the honor of your presence 
ai the marriage of their daughter^ 

EVA MADGE, 

to 

MR. SAMUKI* MARTIN HOPE, 

on Wednesday ^fune the twenty-first^ 

at twelve o'* clocks in 

The Church of the Pilgrims. 



This is engraved in round-hand script, without 
flourish and with little shading, and a tendency 
toward the medium and the small in size. The 
lines are rather close together, allowing consider- 
able margin at top and bottom of the note. The 
paper most preferred has a white dull kid and parch- 
ment finish, in size between octavo and billet. 
When folded it fits an envelope that is almost 
square and which oflfers a choice of either a pointed 
or square flap. In town the pointed flap is consid- 
ered the proper thing while the country favors the 
square one. The envelope inclosing the note is 
without gum and of the same weight as the 
inclosure, while the outer one, intended as a carrier 
only, is of lighter quality and gummed for sealing. 

Wedding invitations require no answer. But peo- 
ple living at a distance, who cannot attend the wed- 
ding, should send their cards by mail, to assure the 
hosts that the invitation has been received. 



48 HOW TO BKHAVB, 

The usual form of invitation for a wedding recep- 
tion is as follows : 



Al Home 

After the Ceremony^ 

7 East Market Street — 



This is enclosed, with the cards of the young- 
bride and of her intended husband, to the favored 
ones only. 

People with a large acquaintance cannot always 
invite all their friends to a wedding reception^ and 
therefore invite all to the church. Sometimes 
people who are to give a small wedding at home 
request an answer to the wedding invitation; in 
that case, of course, an answer should be sent, and 
people should be very careful not to ignore these 
flattering invitations. Any carelessness is inexcu^ 
able when so important an event is in view. Brides- 
maids, if prevented by illness or sudden bereavement 
from officiating, should notify the bride as soon as 
possible, as it is a difficult thing after a bridal pro- 
gram is arranged to reorganize it. 

Church Weddings. 

We have gradually adopted feature by feature of 
the English style of wedding m America until to- 
day the general order followed in both countries may 
be said, in all essential particulars, to be identical. 
The bridegroom is dressed in a frock-coat and light 
trousers of any good pattern; in other words, he 
wears a formal morning dress, drives to the church 
with his best man, and awaits the arrival of the 
bride in the vestry-room. He may wear gloves or 
not as he chooses. The best man is the intimate 
friend, sometimes the brother, of the groom. He 



WEDDING ETIQUETTE. 49 

accompanies him to the church, follows him to the 
altar, stands at his right hand a little behind him, 
and holds his hat during the marriage-service. 
After that is ended he pays the minister's fee, ac- 
companies the bridal party home, being in a coup6 
by himself, and assists the ushers to introduce 
friends to the newly wedded pair. 

The bridegroom is allowed to make what presents 
he pleases to the bride, and to send some gift, such 
as a fan, locket, ring or bouquet, to the bridesmaids; 
he also buys the wedding-ring, and, of course, sends 
a bouquet to the bride; but he is not to furnish cards 
or carriages or the wedding breakfast; that is done 
by the bride's family. In England the groom is 
expected to drive the bride away in his own carriage, 
but in America this custom is not often followed. 
The bride, beautifully dressed usually in white 
satin, with point lace veil and orange blossoms, is 
driven to the church in a carriage with her father, 
who gives her away. Her mother and other rela- 
tives precede her and take front seats; her brides- 
maids should also precede her, and await her in 
the chancel. The ushers then form the procession 
with which almost all city weddings are begun. 
The ushers first, two and two; then the bridesmaids, 
two and two; then some pretty children — brides- 
maids under ten; and then the bride, leaning on 
her father' s right arm. Sometimes the child brides- 
maids precede the others. As the procession reaches 
the lowest altar step the ushers break ranks and go to 
the right and left and the bridesmaids also go to 
right and left, leaving a space for the bridal 
pair. As the bride reaches the lowest step the 
bridegroom advances, takes her by the right hand, 
and conducts her to the altar, where both kneel. 
The clergyman signifies to them when to rise, and 
then proceeds with the ceremony. The bridal pair 
walk down the aisle arm-in-arm, and are conducted 
to the carriage and driven home, the rest following. 



50 HOW TO BBHAVE. 

In some cases, a bridal register is signed in the 
vestry. 

Formerly brides removed the whole of the left 
glove; now they neatly cut the finger out of the 
glove, so that they can remove that without pulling 
oiF the whole glove for the ring. 

In a marriage at home, the bridesmaids and best 
man are usual' v dispensed with. The clergyman 
enters and faces the company, the bridal pair fol- 
low and face him. After the ceremony the clergy- 
man retires, and the wedded pair receive congratula- 
tions. 

Wedding Breakfasts. 

The English fashion of a wedding breakfast is not 
common here yet, but it is well to describe the 
proper etiquette. The gentlemen and ladies invit- 
ed should be notified a fortnight in advance, and 
should accept or decline immediately, as it has all 
the formality of a dinner. On arriving at the 
bouse the gentlemen leave their hats in the hall, 
but ladies do not remove their bonnets. After 
greeting the bride and groom and the father and 
mother, the company talk together until breakfast 
is announced. Then the bride and groom go first, 
followed by bride's father with groom's mother, 
then groom's father with bride's mother, then best 
man with first bridesmaid, then bridesmaids with 
attendant gentlemen, and then the other invited 
guests, as the bride's mother arranges. Coffee and tea 
are not usually offered, but bouillon, salads, birds, 
oysters, and other hot and cold dishes, ices, jellies, 
etc. , are served at this breakfast, and finally the wed- 
ding-cake is set before the bride, who cuts a slice. 

** Stand-up '* breakfasts are far more commonly 
served, as the French say, en buffet. More guests can 
come and it is far less trouble to serve a collation 
to a number of people standing about than to furnish 
what is really a dinner to a number sitting down. 



WEDDING BTIQUKTTB. 51 

HOM^ Wkddings and Privatk Weddings. 

If the marriage is to be solemnized at home, the 
date follows the names in succession, and the place 
of residence is given last. The invitation may vary, 
**the wedding reception of their daughter,'* etc. 
Or, accompanying the church wedding invitation 
may be a square card bearing the lines: ** Reception 
from half-past seven until nine o'clock,'* with place 
of residence on the line below. 

If the ceremony is private, the immediate family 
and chosen friends are invited verbally. It is then 
optional whether or not a formal announcement 
shall be made to a wider circle of friends by send- 
ing out engraved cards the day after the ceremony. 
These are, like the invitations, printed on note 
sheets. The private wedding and after announce- 
ment is often the most suitable method when a bride 
is comparatively alone in the world, or has no near 
reladves. In such a case the announcement is 
worded: ** Mr. Walter Edward Brown and Miss 
Anna Childers Wilson married; Wednesday, October 
twentieth, 619 Grace St. " If no other place is given 
this is understood to be the place where to address 
cards of congratulation. If the young couple are 
to receive later, in a new home, that address, with 
date of the **at home," is also given, thus, **At 
home, after November fifteenth, 6417 Ocean Ave.'* 
If the change of residence is to another town, the 
name of the town is also given. 

Wedding Gii^ts and Other Gii^s. 

There are probably few matters that are the 
occasion of more troublesome study and vexation 
of spirit than the selection of wedding presents. 
They should in all cases be chosen with due reference 
to the circumstances of the bride. For the daughter 
of wealthy parents, who marries a man of large 
means, rare and costly articles are suitable wedding 



52 HOW TO BEHAVE. 

gifts. For a bride who is going to honsekeeping 
on a moderate income, articles that are useful as 
well as beautiful are appropriate. A handsome chair, 
a china cabinet, or some china to put in it, a few 
standard books, fine table linen, or one of the many 
other things within the range of house-furnishing 
are acceptable. 

Presents devised and made by the ingenuity and 
labor of the giver — ^hand-painted screens or china, 
embroidered work, or a painting or etching — are 
specially complimentary gifts. 

A man should not make valuable presents to a 
lady outside of his own family, unless she is very 
much his senior, and a friend of long standing. A 
lady should not accept valuable gifts from a gentle- 
man unless his relationship to her warrants it Tri- 
fling tokens of friendship or gallantry — a book, a 
bouquet, or a basket of bon-bons — are not amiss; 
but a lady should not be under obligation to a man 
for presents that plainly represent a considerable 
money value. When a gift is accepted, the re- 
cipient should not make too obvious haste to return 
the compliment, lest he or she seem unwilling to 
rest under obligation. 

To refuse all trifling favors is regarded as rudeness. 
It is often the greatest wisdom as well as kindness, 
to allow some one to do us a favor. 

When some well-meaning person innocently 
offers a gift that strict conventionality would forbid 
one to accept, it is sometimes better to suspend the 
rules and accept the token, than to hurt the feel- 
ings by refusal. 

Gifts of flowers to the convalescent are among 
the graceful expressions of courteous interest. 
Even a total stranger may send these, without 
offending. 

Wedding gifts may be sent at any time within 
two months before the wedding. All who send 
gifts should be asked to the wedding and reception. 



WEDDING ETIQUETTE. 53 

Wedding Anniversaries. 

It is becoming more and more the custom, both 
in town and country, to celebrate wedding anniver- 
saries. These occasions, however, with a few ex- 
ceptions, are usually confined to the exchange of 
gifts and expression of good- will by members of 
the immediate family. But when a number of 
years have passed, a married pair, whose wedded 
lives have been harmonious, begin to look forward 
to the approach of an anniversary which can be 
celebrated by a much wider circle. The marriage 
anniversary which falls after five years is sometimes 
called **a wooden wedding;" after ten years, **tin;" 
after twenty, * 'crystal;*' at twenty-five, * 'silver;" 
at fifty, a ** golden anniversary;'* and at seventy- 
five the ** diamond wedding** occurs. 

So general has been the custom, in the past, of 
making these anniversaries occasions for the mak- 
ing of gifts of all descriptions that self-respect- 
ing families have at last drawn the line at this 
practice and engraved upon their anniversary 
mvitation cards: "No gifts received.** Still some old 
friends will take the liberty sometimes of disregard- 
ing the engraved injunction, just as such valued 
individuals indulge themselves in familiarities with 
the rules that usually govern one's private social 
affairs. But if remoter relatives or mere society 
acquaintances send a gift other than flowers or a 
book, after being requested to restrict their gener- 
osity, they need not be surprised if the act be con- 
sidered an impertinence, and resented accordingly. 

The prevailing style of cards of invitation to an 
anniversary party or reception is the same as to 
any ordinary entertainment. A wedding-bell, or a 
horse-shoe of white flowers, with the date of the 
marriage wrought into it with colored blossoms, or 
a bride's loaf dated in sugar and placed upon a 
separate table^ informs the guests of the reason for 



54 HOW TO BKHAVE. 

rejoicing. Here is the correct form of invitation 
card for such occasions: 



Mr. and Mrs. Ai,e:xandkr J. Marshai,]; 

request the pleasure of your presence 

on Tuesday evening ^ January eleventh^ at 

eight o'clock^ to celebrate the 

twenty-fifth anniversary of their marriage. 

No. 47 Rylance Street. 
No gifts received. 



It is customary for the host and hostess to secure 
as many guests as possible from among those who 
were present at their wedding. The clergyman 
who performed the ceremony is bidden, and, if 
possible, the wedding-garments are again worn. 

Other interesting formalities are added, making 
the occasion impressive, without being oppressive. 
Near kinspeople offer congratulations first, when 
other guests follow after the manner of a wedding 
reception. When a formal supper is provided, the 
host and hostess lead together upon this peculiar 
occasion, and the guests follow in convenient order, 
as at an ordinary party. The supper may be in 
buffet style, if preferred. 

Notes Aboxjt Weddings. 

When a honeymoon follows, the old customs 
are still maintained. The father, mother and 
intimate friends kiss the bride, and, as the happy 
pair drive off, a shower of satin slippers and nee 



NEW YEAR'S DAY CAI^IvS. 55 

follows them. If one slipper alights on the top 
of the carriage, luck is assured to them forever. 

Many brides nowadays prefer to be married in 
traveling dress and hat, and leave immediately 
without congratulations. 

Wedding-cake is no longer sent about. It is 
neatly packed in boxes; each guest takes one, if 
she likes, on leaving the house. 

Wedding-favors of white ribbon and artificial 
flowers are used in England, but not to any great 
extent in America. Here the groom wears a 
boutonnihre of natural flowers. 

A widow should never be accompanied by brides- 
maids, or wear a veil or orange-blossoms. She 
should wear a colored silk and a bonnet, and be at- 
tended by her father, brother or some near friend. 
It is proper for her to remove her first wedding-ring, 
as the wearing of that cannot but be painful to the 
bridegroom. If married at home, she may wear a 
light silk and be bonne tless. 

It is an exploded idea that of allowing every one 
to kiss the bride. Only near relatives have this 
privilege. 

Wedding tours are no longer considered obligatory 
nor is the seclusion of the honeymoon demanded 
by fashionable society. 

New Year's Day Cai.i,s. 

The old-time habit of serving wines and liquors 
at these gatherings has, happily, almost died out, 
in good society. Those who entertain elaborately 
upon New Year's Day sometimes send out cards 
of invitation in the name of the hostess. They 
are handsomely engraved, and enclosed in a single 
envelope. If a daughter or daughters receive 
with her, **Miss Blank or Misses Blank " is en- 
graved beneath her own name. If other ladies 
than her daughters also receive with her^ their 



56 HOW TO BKHAVE). 

visiting-card may be enclosed in the same envelope 
with the hostess' invitation. Should the lady-guest 
invite her own personal friends to meet her at the 
residence of her hostess for this day, she writes the 
number of her residence where she is to receive on 
New Year's upon her own card, adding the receiv- 
ing hours in ink, and she incloses the visiting-card 
of her hostess. 

The invitation of the hostess is engraved in the 
following form: 



Mrs. Wii^mkr Rai^xon 

AT HOME, 

January firsts from one until ten o^dock. 
No. 679 Little Silver Street 



All the ladies are in full toilets, and the house is 
lighted as if it were evening. A table is spread, as 
if for an ordinary reception or party, in the back 
parlor or dining-room. A servant opens the street- 
door and the gentlemen leave their cards in the 
hall. They enter the drawing-room with hat in 
hand, or they may leave it in the hall with over- 
coat and cane. Ladies in full costume require the 
atmosphere of their drawing-rooms to be kept com- 
fortably warm. They rise to receive their guests. 
The hostess offers her hand to the guest when he 
enters, and, after an exchange of compliments he 
is presented to her lady friends. After partaking of 
refreshments, which consist of oysters, tea, coffee, 
chocolate, bouillon or lemonade, with cake and 
cold meats, boned turkey, etc. , he may retire soon 
from the house without interrupting his hostess, 
provided she be occupied with later visitors. He 
need only bow to each lady as he passes out. 



CHRISTENINGS AND BIRTHDAYS. 57 

Ladies who receive New Year's callers less for- 
mally may write ''January i *' upon their visiting- 
cards and send them to such of their gentlemen 
acquaintances as they may like to see. They need 
not provide an elaborate repast. They may wear 
a visiting costume with light gloves, but they need 
not turn on the gas, because informal receptions 
are held in daylight. If they do not mention upon 
their cards the hours for receiving, it is etiquette for 
a gentleman to call at any time between twelve m. 
and ten o'clock p. m. The formalities between 
hostess and guest are the same as if the reception 
were held in grand toilet. 

Gentlemen who cannot call enclose their visiting- 
cards in envelopes, and send them by messengers 
on the morning of New Year's, or by mail the day 
before. Others drive from door to door and leave 
their cards, the right-hand side folded over to 
signify that they delivered the card in person. A 
gentleman leaves as many cards as there are ladies 
who are old enough to receive visitors. 

Gentlemen should wear a morning costume of 
dark coat and vest, with lighter pantaloons, when 
they pay New Year's calls. It is not uncommon to 
see dress-suits, but they are never strictly correct 
until evening. Gloves, while light in tint, should 
never be white. Medium tints in scarfs and gloves 
are in taste upon these occasions. 



Christenings and Birthdays. 

There are occasions when family and friendly 
reunions of the pleasantest character may be en- 
joyed. Christening ceremonials among our su- 
perior citizens are becoming more and more beauti- 
ful each year in New York. The formality which 
is most in favor is the giving of a reception; the 
hours are fixed from three or four o'clock until six 



58 HOW TO BEHAVE. 

p. m. It is equally proper to write the invitations, 
or to order them engraved in script. 

The engraved form is scarcely varied from the 
following: 



Mr. and Mrs. Wii^i^iam AsHa^oN 
request the honor of your presence at the 

Christening Ceremony 

of their son [or daughter] at five o' clocks 

Thursday^ December sixth. 

Reception from, four to six o'' clock. 

No. 1624 W. Eleventh Street. 



This card calls for an early response. 

At these parties, flowers ornament the house 
tastefully. The guests all arrive in reception or 
visiting toilets, before five o'clock, and meet the 
host and hostess just as they would at any recep- 
tion. 

There may be a band of music, or a pianist and a 
quartette of singers, to entertain the guests. 

Sometimes professional musicians are employed. 
A temporary font is arranged in a prominent place 
in the room, and on a small round table is placed a 
silver goblet or bowl, or one of crystal. The edge 
of the pedestal is often hung with trailing flowers. 

The child is brought to the parents, who stand 
by the font, and the sponsors join them. If it be a 
girl, its selected guardians are usually two young 
ladies, who are dressed in white and who arrange 
themselves one at each side of the father and 
mother, and a hymn or chant is sung. The clergy- 
man performs the rite according to the formalities 



MOURNING ETIQUETTE. 59 

of his own established church; more music fol- 
lows, and then a benediction. Directly after this, 
congratulations are offered to the father and mother, 
and the child is admired and shortly afterward 
removed. 

Refreshments are offered as at any afternoon en- 
tertainment. 

Children's birthdays are celebrated more and 
more after the customs of Europeans. A little feast 
is made for the child, to which its companions are 
invited, but the invitations seldom extend beyond a 
number that may be seated at table. The feast is 
dainty but not rich, and with a pretty cake in which 
may be placed as many toy wax-candles as there are 
years in the age of the young host. They are al- 
ready lighted when the young people enter the 
room. Plays follow the supper. Guests are not 
expected to make presents. 

Among the elders of a family the yearly return 
of the birthday is seldom celebrated except by his 
or her own kinspeople. The twenty-first birthday 
of a young man is often made an occasion for a din- 
ner, or a party, but a lady's age is not thus public- 
ly celebrated. When the lady or gentleman be- 
comes very old, delightful attentions are often 
bestowed upon them by their young friends, and 
by the companions of their youth. Flowers, letters 
of congratulation, cards of inquiry and respect, gifts 
that will interest, breakfast or dinner parties, and 
receptions, are considered proper for such celebra^ 
tions. 

Mourning Etiquette. 

Death comes to all alike and custom has long 
established a conventional observance in deaUng 
with the presence of death, in our own homes or 
elsewhere. In our own country black is worn as 
the typical attire of sorrow, and it has come to be 
regarded as a token of respect to the lost one. It 



6o HOW TO BEHAVE. 

is now decreed that crape shall only be worn six 
months, even for the nearest relative, and that the 
duration of mourning shall not exceed a year. A 
wife's mourning for her husband is the most con- 
ventionally deep mourning allowed. Bombazine 
and crape, a widow's cap, and a long, thick veil — • 
such is the modern English idea. Some widows 
even have the cap made of black crepe lisse^ but it is 
generally of white. In this country a widow's first 
mourning dresses are covered almost entirely with 
crape. There are now, however, other and pleasant- 
er fabrics which also bear the dead black, lustreless 
look which is alone considered respectful to the 
dead, and which are not so costly as crape or so 
disagreeable to wear. The Henrietta cloth and 
imperial serges are chosen for heavy winter dresses, 
while for those of less weight are tamise cloth, 
Bayonnaise, grenadine, nuns* veiling, and the 
American silk. 

Mourning is expensive, and often costs a family 
more than they can well afford; but it is a sacrifice 
that all gladly make. Many consider it an act of 
disrespect to the memory of the dead if the living 
are not clad in gloomy black. 

Widows wear deep mourning, consisting of 
woolen stuffs and crape, for about two years, and 
sometimes by choice for life. Children wear the 
same for parents for one year, and then lighten it 
with black silk, trimmed with crape. Half mourn- 
ing gradations of gray, purple, or lilac have been 
abandoned, and, instead, combinations of black 
and white are used. Complimentary mourning is 
black silk without crape. The French have three 
grades of mourning — deep, ordinary, and half 
mourning. In deep mourning, woolen cloths only 
are worn; in ordinary mourning, silk and woolen; 
in half mourning, gray and violet. In France, 
etiquette prescribes mourning for a husband — six 
months of deep mourning, six of ordinary, and 



MOURNING ETIQUBTTK. 6r 

six weeks of half mourning. For a wife, a father, 
or a mother, six months — three deep and three half 
mourning; for a grandparent, two months and a 
half of slight mourning; for a brother or a sister, 
two months, one of which is in deep mourning; for 
an uncle or an aunt, three weeks of ordinary black. 
Here, ladies have been known to go into deepest 
mourning for their own relatives or those of their 
husbands, or for people, perhaps, whom they have 
never seen, and have remained for seven or ten 
years, constantly in black; then, on losing a child 
or a relative dearly loved, they have no extremity 
of dress left to express the real grief. Complimen- 
tary mourning should be limited to two or three 
weeks. 

The duration of a mourner's retirement from the 
world has been much shortened of late. For one 
year no formal visiting is undertaken, nor any gay- 
ety. Black is often worn for a husband or wife two 
years, for parents one year, and for brothers and 
sisters one year; a heavy black is lightened after 
that period. Ladies are beginning to wear a small 
black gauze veil over the face, and are in the habit 
of throwing the heavy crape veil back over the hat. 
It is also proper to wear a quiet black dress when 
going to a funeral, although not absolutely neces- 
sary. Friends may call on the bereaved family 
within a month, not expecting, of course to see 
them. Kind notes expressing sympathy are wel- 
come from intimate friends; and flowers, or any 
similar testimonial of sympathy, are thoughtful 
and appropriate. 

Cards and note-paper are put in mourning, but 
very broad borders of black are in bad taste. A 
narrow border of black is correct. The use of 
handkerchiefs with a two-inch square of white 
cambric and a four-inch border of black is to be 
deprecated. 

Mourning which soldiers, sailors, and courtiers 



^ HOW TO BEHAVE. 

wear is pathetic and effective. A flag draped with 
crape, a gray cadet-sleeve with a black band, or a 
piece of crape about the left arm of a senator, 
a black weed on a hat, are in proper taste. 

For light mourning, jet is used on silk, and makes 
a handsome dress. 

Elegant dresses are made with jet embroidery on 
soft French crape, but lace is never ** mourning." 
During half mourning, however, black lace may be 
worn on white silk ; but this is questionable. Dia- 
mond ornaments set in black enamel are allowed 
even in the deepest mourning, and also pearls set 
in black. Gold is never worn in mourning. 

The Swedish kid glove is now much more in use 
for mourning, and the silk glove is made with such 
neatness and with such a number of buttons that it 
is equally stylish, and much cooler and more agree- 
able. Mourning bonnets are worn rather larger 
than ordinary bonnets. 

People of sense, of course, manage to dress with- 
out going to extremities in either direction. Ex- 
aggeration is to be deprecated in mourning as in 
everything. The discarding of mourning should 
be effected by slow stages. It shocks persons of 
good taste to see a widow change into colors 
hurriedly. If black is to be dispensed with, let its 
retirement be slowly and gracefully marked by 
quiet costumes, as the grief, yielding to time, is 
giving way to resignation and cheerfulness. 

Before a funeral the ladies of a family see no one 
but the most intimate friends. The gentlemen, of 
course, see the clergyman and officials who manage 
the ceremony. It is now the almost universal 
practice to carry the remains to a church, where 
the friends of the family can pay the last tribute of 
respect without crowding into a private house. 
Pall-bearers are invited by note, and assemble 
at the house. They, accompanying the remains, 
after the ceremonies at the church, to their final 



MOURNING ETIQUETTE. 63 

resting-place. The nearest lady friends seldom go to 
the church or to the grave. This is, however, en- 
tirely a matter of feeling, and they can go if they 
wish. After the funeral only the members of the 
family return to the house. It is not expected 
that a bereaved wife or mother will see any one 
other than the members of her family for several 
weeks. 

All the preparations for a funeral in the house 
are committed to the care of an undertaker, who 
removes the furniture from the drawing-room, fill- 
ing all the space possible with camp-stools. The 
clergyman reads the service at the head of the 
coffin, the relatives being grouped around. The 
body, if not disfigured by disease, is often dressed 
in the clothes worn in life, and laid in an open 
casket, as if reposing on a sofa, and all friends are 
asked to take a last look. The body of a man is 
usually dressed in black. 

The custom of decorating the coffin with flowers 
is beautiful, but has been overdone, and now the 
request is frequently made that no flowers be sent. 

No one in mourning for a parent, child, brother, 
or husband, is expected to be seen at a concert, a 
dinner, a party, or at any other place of public 
amusement, before three months have passed. 
After that one may be seen at a concert. But to 
go to the opera, or a dinner, or a party, before six 
months have elapsed, is considered heartless and 
disrespectful. If one choose, as some do, to wear 
no mourning, then he can go, unchallenged, to any 
place of amusement, but if he put on mourning he 
must respect its etiquette. 

A woman may wear mourning all her life if she 
choose, but it is a question whether in so doing she 
does not injure the welfare and happiness of the 
Mving. 



64 HOW TO BEHAVE. 

Thb Etiquette of Correspondence. 

Good or ill-breeding is no more marked in 
general deportment than in the writing of notes 
and letters. A gracefully and courteously worded 
note is always pleasantly received. Very long 
letters are now rendered unnecessary by the in- 
crease of mail and telegraphic facilities, but the 
writing of notes has correspondingly increased; and 
the last few years have seen a profuse introduc- 
tion of crests, ciphers, dcvsigns, and monograms in 
the corners of ordinary note-paper. The use of 
sealing-wax has almost been abandoned, although 
it is still the only elegant, formal, and ceremonious 
way acknowledged in England, of sealing a 
letter. 

Colored note-paper fell into disuse long ago, and 
for the last few years we have not seen the heavy 
tints. Pale greens, grays, blues, and lilacs have 
found a place in fashionable stationery, but now 
no color that is appreciable is considered stylish, 
unless it be ecru^ a creamy white. Fanciful emblaz- 
oned and colored monograms have been dropped; 
the crest and cipher are laid aside, and ladies have 
simply the address of their city residenfce, or the 
name of their country place printed in one corner 
(generally in color), or, a fac-simile of their initals, 
engraved and set across the corner of the note- 
paper. The day of the week, also copied from 
their own handwriting, is often impressed upon the 
square cards now so much in use for short notes, or 
on the note-paper. Good, plain, thick, English 
note-paper, folded square, put ixv a square envelope, 
and sealed with red sealing-wax is always stylish 
in any part of the world. 

The plan of having all the note-paper marked 
with the address is an excellent one. It gives a 
stylish finish to the appearance of the note-paper, 
is simple, and useful. The ink should be plain 



ETIQUBTTB OF CORRESPONDENCE). 65 

black ink, which gives the written characters great 
distinctness. 

Every lady should Study to acquire a free, and 
educated hand ; a cramped, poor, slovenly, un- 
formed handwriting is sure to produce a poor im- 
pression upon the reader. 

Custom demands that we begin all notes in the 
first person, with the formula of ''My dear Mrs. 
Brown,'' and close with "Yours, cordially," or 
*' Yours with much regard," etc. The laws of 
etiquette do not permit us to use numerals, as 3, 4, 
5, but demand that we write out three, four, five. 
No abbreviations are allowed in a note to a friend, 
as, "Sd be glad to see you;" one must write out, **I 
should be glad to see you. ' ' The date should follow 
the signing of the name. A note in answer to an 
invitation should be written in the third person, if 
the invitation be in the third person. An accept- 
ance of a dinner invitation must be written in this 
form : 



Mr. and Mrs. Gree^n 

have great pleasure in accepting the polite 

invitation of 

Mr. and Mrs. Dinsmore^ 

for dinner^ on the seventeenth inst.^ at seven 

o'clock. 

18 Golden Square, 

fuly sixth. 



Above all things, in letter writing, spell correctly, 
A word badly spelled stands out like a blot on a 
familiar or ceremonious note. Do not send a blurred, 
blotted, slovenly note to any one. The fashion 



66 HOW TO BEHAVE. 

is not now, as once, imperative that a margin be 
left around the edge of the paper. People now 
write all over the paper. Do not cross your letters: 
such letters are a nuisance to all people who have 
not the keenest of eyes. 

No letter or note should be written on ruled 
paper. Every person should learn to write with- 
out lines. The square cards are much used, and 
are quite large enough for the transmission of all 
that a lady ordinarily wishes to say in giving or 
accepting an invitation. The day of the week and 
the address are often printed on the card. Square 
envelopes have also driven the long ones from the 
table of the elegant note-writer, and the custom of 
closing all ceremonious notes with sealing-wax is 
still adhered to by the most fastidious. Dates and 
numerical designations, such as the number of a 
house, may be written in Arabic figures, but quanti- 
ties should be expressed in words. Few abbrevia- 
tions are respectful. A married lady should always 
be addressed with the prefix of her husband's 
Christian name. In this country, it is the custom 
to abbreviate everything except the title of * 'Rev- 
erend," which we always give to the clergy. A 
properly written note honors the writer and the 
person to whom it is written, while a careless one 
may injure both. 

Behavior in Church. 

It may not be out of place to furnish a hint as to 
behavior in church. There is, of course, such a 
thing as church etiquette, although its code is 
rather implied than written. As a preliminary, it 
should be assumed that the right spirit has drawn 
the worshiper thither and that a reverent atten- 
tion will be given to the service. The following 
suggestion may be accepted as embodying the 
general view of .church etiquette : 



BEHAVIOR IN CHURCH. &; 

1. If possible, be in time. You need at least 
five minutes after coming to get warm or cool: to 
compose your body and mind, and to whisper a 
prayer before the service begins. 

2. Never pass up the aisle during prayer or 
Scripture reading. If you do, your presence will 
distract the minds of many in the audience. 

3. Be devout in every attitude; all whispering 
should be studiously avoided. Find the hymn ana 
sing it if you can. Share the book with your 
neighbor. If in a strange church, conform to its 
customs. 

4. If the the sermon has begun, take a seat near 
the door — no matter if you are **at home. '* 

5. Be thoughtful for the comfort of others. 
Take the inside of the pew, if you are the first to 
enter, and leave all vacant space at the end next to 
the aisle. 

6. Speak a bright, cheery word to as many as 
possible at the close of the service. If you are a 
stranger, ask one of the ushers to introduce you to 
the pastor, or to some of the church officers. This 
will always insure you a hearty welcome. 

7. Never put on your coat, overshoes or wraps 
during the closing hymn, and do not make a rush 
for the door immediately after the benediction is 
pronounced. 

8. There should be no loud talking and jesting 
after the service is concluded. They are as much 
out of place in the house of God as at a house of 
mourning. 



68 HOW TO BEHAVE. 



VARIOUS POINTS ON DEPORTMENT. 



Poi^iTE Terms oi^ Address. 

Not every one who is accustomed to most of the 
usages of good society, is familiar with the ap- 
proved forms of address, even in the simplest 
matters. A good authority writes : 

Say ** Thank you,'^ not ** Thanks ** — a lazy and 
disrespectful abbreviation. If you say ** Pardon 
me,'* let your manner be appropriate to your 
words. ** I beg your pardon '* is sometimes uttered 
in prefacing the expression of a contrary opinion, 
and the insolence of the tone and manner give the 
words all the force of a contradiction. In most 
phravSes of compliment the words are nothing, the 
manner everything. So of adding **Sir*' or 
** Ma'am" to *»Yes" and *'No.'* "Yes, sir," 
" No, sir," may be rude and defiant ; ** Yes " and 
**No " may be polite and deferential. There is a 
difference of opinion as to whether it is necessary, 
or even proper, for people of social equality to add 
sir or madam to these responses, and especially as 
to whether children should be taught to do so. It 
is a provincial custom, but the best usage does not 
allow it. Children may be taught tosay **Yes** 
and **No " with a well-bred courtesy of tone and 
inflection to which the additional syllable **Sir'* 
could give no additional grace. It is an important 
point of training in etiquette to enforce the truth 
that the spirit of words and deeds is the essence of 
good manners, or good anything^ in fact 



FAULTY SOCIAL TRAINING. 69 

FAUI.TY SociAiv Training. 

That society is bad whose members, however 
tenacious they be of forms of etiquette and elab- 
orate ceremonials, have one code of manners for 
those whom they deem their equals, and another 
for those whom they esteem to be of less impor- 
tance to them by reason of age, pecuniary condi- 
tion, or relative social influence, writes Mrs. 
Sherwood. Bad manners are apt to prove the 
concomitant of a mind and disposition that are 
none too good, and the woman who slights and 
wounds people because they cannot minister to 
her ambitions, challenges criticism of her own 
shortcomings. A girl who is impertinent or care- 
less in her demeanor to her mother or her mother's 
friends ; who talks slang ; who is careless in her 
bearing toward young men ; who accepts the at- 
tentions of a man of bad character or dissipated 
habits ; who is loud in dress or manner — such a 
girl must be classed as ill-bred and undesirable in 
good society. 

So with a young man who is indifferent to his 
elders, neglects to acknowledge invitations, sits 
while a lady stands, does not speak to his host ; 
who is selfish, immoral and careless of his reputa- 
tion. No matter how rich, or how agreeable to 
those he may wish to please, he is to be avoided 
by a wise host or hostess. 

If a young girl comes from a secluded circle, and 
sees some handsome, well dressed woman much 
courted, and observes in her what seems to be inso- 
lent pretence, unkindness, frivolity, and super- 
ciliousness, let her inquire and wait before she 
accepts her acquaintance. Good society is the 
bringing together of the best men and women in a 
pleasant and proper way. Good breeding, per- 
sonal superiority, beauty, genius, culture, are all 
estimable things, and every one likes a person of 



TO HOW TO BEHAVE. 

charming manners ; but the best society is that of 
those who have virtue and good manners com- 
bined. 

Tactfui, Hostesses. 

The capable hostess will give her instructions for 
the details of the entertainment so explicitly that 
on the arrival of the guests she need have no other 
care than their pleasure. If she is nervous, or 
fihows constraint, it affects the ease of her guests- 
Upon the demeanor of the hosts the success of the 
occasion largely depends. Much tact may be shown 
in placing the right people together at the table. 
If one is a great talker let the other be a good 
listener ; if one is dogmatic let the other be with- 
out positive views, and so on ; for every one is hap- 
piest when appearing well. The guests, too, have 
their obligations, and in recognition of the com- 
pliment of being invited where the number of 
guests is limited to very few, each one should ex- 
ert himself to be as agreeable as possible, a dull 
dinner or tea companion being a misfortune. At a 
dinner there is time, not given at most other forms 
of entertainment, for rational and sustained con- 
versation, and this may be turned to durance vile 
if one victimizes by his egotism or caprice the per- 
son who without power of withdrawal is assigned 
to his society for perhaps two hours or more. Also, 
if one finds himself neighbor to some one he dis- 
likes, it must not be allowed to interfere with the 
general pleasure ; and should such a situation oc- 
cur, there is nothing to do but to make the best of 
it. The discovery is sometimes made that an un- 
friendly person is more agreeable than was sup- 
posed, and a pleasanter relationship results. 

A Young Girl's Social Life. 

Here is a pretty and instructive little sketch by 
Ruth Ashmore from her new book on **Sidetalks 



A YOUNG GIRI^'S SOCIAL LIFE. 71 

'with Girls,*' in which she pictures the ** Social Life 
of a Girl. *' She writes : 

You are just beginning to go out ; you are 
twenty years old, and you would like, as is per- 
fectly natural, not only to have the love of women, 
but the genuine admiration of men. The admira- 
tion of all men is not worth having. You believe 
that you are pleasant to look at, but when you 
meet strangers you are abashed, the blood rushes 
to your face, and you don*t know what to say. 
Now a little bit of that is due to self-consciousness ; 
more of it to inexperience. When a man is pre- 
sented to you you need not expect to enter into an 
easy conversation with him, as does the woman of 
forty, but you can get your thoughts away from 
yourself and answer him as intelligently as pos- 
sible. Make up your mind to be a little slow in 
your speech rather than to give a foolish an- 
swer, and after you have resolved to do this you 
will not find it difficult to overcome that silly 
giggle so peculiar to young women, and which is 
very often the result of great nervousness, and an 
efiort to speak quickly. 

Don't be too perfectly certain about things. The 
positive girl who, the very minute a stranger 
speaks to her, gives him an answer which she an- 
nounces is her opinion, and which she permits no 
one else to doubt, is quite as undesirable as the 
girl who is afraid to say anything. I think you 
will be most successful socially if you are willing 
to learn, and if you never permit' yourself, from 
false shame, to tell an untruth and say you do 
know of things about which you are totally ignor- 
ant. Experience has taught most social leaders 
that men like to give information, consequently 
when a stranger has been presented to you, and 
after the first ordinary commonplaces, asks, **Did 
you meet the Spanish Princess?" answer yes or 
no, as the truth may be, and supplement this by 



72 HOW TO BEHAVE. 

another qnestion, "Did you? And what did you 

^ it is^not difficult in this -world to attract, if one is 
voung and pleasing to look upon. 

It may be taken as a general rule that no wonian 
can retain her friends who cannot control her 
temper. What she thinks may be right but, be- 
cause it is so, no excuse can be found for her going 
into a long, quarrelsome fS^'^'^f'J^ll'^l^Z 
voice, and making her hostess and all the other 
guests uncomfortable. Then people must know 
that, socially, a girl is to be relied «Pon ; that she 
is not going to bring the daily worries of her lite 
into thi social atmosphere, but that she is certain 
to bring her mite of agreeableness to add to all the 
other mites until the perfection of enjoyment is 
achieved, and the pleasant side of everybody is 
seen and enjoyed. The woman who wishes to keep 
her friends must steer clear of vital subjects on 
which they may differ. . 

Be pleasant and agreeable to all who may be m 
your own social world. To retam one's friends one 
must also respect their social rights. That girl 
shows wisdom, who, invited to a very elaboraie 
affair and feeling that she cannot afford even a 
simple suitable dress, refuses the invitation rather 
than mortify the hostess by being out of tune in 
the general harmony. One has achieved a great 
wisdom when one has learned how to say no 
in the social world without giving offence, feo it 
should be with any games, or any affair involving 
late hours, or at which she would meet undesirable 
people. The saying " no " is right, but it must be 
said at the right time, that is, it must be said be- 
fore the temptation arises and before you wouia 
be forced to appear as rude. You cannot accept an 
invitation and refuse to meet your hostess friends. 
Once there, you are bound to be polite to them, 
though afterward you need only recognize them 



INNOCENT AND SINFUL PLEASURES. 73 

Tery faintly, and gradually the recognition may die 
away altogether. A form of declination for those 
invitations which you are sure will place you either 
in disagreeable positions or among people whom 
you do not care to meet, is this : 



^^ Miss Brown thanks Mrs. Charles 
Jones for the kind invitation forWednes- 
day evenings and regrets her inability to 
accept it. ^' 



At your own home have the. parlor the prettiest 
and most comfortable room in the house, but don't 
be alone there — have some of the members of the 
family with you. Arrange the parlor with a view 
of furnishing subjects for conversation. Have 
whatever illustrated magazines or papers you have 
in view, or any photographs of celebrities ; have 
the piano open and the music on it. 

INN0CE:N1^ AND SiNFUI, Pi^KASURKS. 

It is frequently asked : ** What pleasures or 
recreations may a young man or woman share that 
are not objectionable. There are a thousand inno- 
cent pleasures within easy reach of all. Pleasures 
may be classified as, (i) Recreative and helpful ; (2) 
Harmless and enjoyable but neither helpful nor 
otherwise ; (3) Injurious for various reasons and ob- 
jectionable as being detrimental to spiritual 
growth and the development of the finer qualities 
in either sex. To the latter category belong 
gambling of all sorts, dancing, theatre-going, flirta- 
tions and frivolous companionship, and all pleas- 
ures that merely *'kill time'* and induce a tem- 
porary excitement. Objectionable pleasures are 
never recreative — a term that implies healthful 
and upbuilding if not uplifting qualities. 



74 HOW TO BKHAVE. 

The greatest tonic, stimulant, and equalizer, 
writes Lyman B. Sperry, is genuine pleasure. Con- 
tentment, satisfaction, joy, are remarkable for their 
beneficial influence on mind and body. Occupa- 
tions that are inviting and pleasurable, whether 
they be called work or play, are helpful to human 
development, longevity, and efficiency. Diversion, 
recreation, pleasure, are demanded as an antidote 
to our feelings of depression and fatigue, a stimu- 
lant to our courage, a basis for satisfaction with 
life. All must have recreation and amusement in 
order to thrive well, but in seeking them it is easy 
to find and to follow those which, though appar- 
ently, and perhaps temporarily healthful, are finally 
destructive of things good and satisfying. All 
amusements which leave a sting, or feelings of 
surfeit or of regret, are either essentially unhealth- 
ful (and therefore unjustifiable), or they are used 
in such a way as, practically, to make them injuri- 
ous. There are some so-called amusements which 
are inevitably bad, and there are others which are 
bad only when they are intemperately pursued. So 
much depends upon the time, the manner, the 
amount, the associations, the tendencies of various 
forms of activity called amusements, that it is im- 
possible to classify them rigidly as either com- 
mendable or objectionable. All intelligent persons 
must admit that our lives should be conformed to 
ways that are helpful to advancement in all that is 
really and permanently good. 

Amusements should secure rest from irksome toil 
and conduce to real recuperation. While they en- 
able fatigued parts of the body to rest, they should 
also bring into action other parts that need, for the 
general good of the body, as well as for their own 
good, to be called into exercise. Genuine and 
healthful amusements stimulate mental emotion in 
such a way as to make one forget his burdens and 
sorrows, they leave in the consciousness a sweet 



INNOCJENT AND SINPUL PLEASURES. 75 

memory which spreads its perfume over and 
through the succeeding period of toil, and even 
into the toil of one's neighbors. There should be 
no doubt about the effects. Questionable amuse! 
ments are usually injurious amusements. Some 
really commendable forms may be in bad repute 
simply because they are habitually in bad com- 
pany or possibly because of mere prejudice. Each 
one should be intelligently examined as to its na- 
ture and influence and be accepted or rejected 
only after a fair judgment is passed upon it 

Comparatively few persons lack opportunities 
for amusement and with many the great question 
IS what not to do. With so much tS select from 
how shall we amuse ourselves ? The answer is ik 
TL^T^ ""^ //^^^^-provided, first, that we can 
«#or^ It; second, that we find practically that it 
furnishes the rest and recuperation we J^^ and 
that without leaving a residuum of regret or of 
lessened self-respect ; third, that our indulgence 
does not interfere with the natural rights of others 
or prove a stumbling-block to them; and fourth' 
that It IS not of such a fascinating nature as to in 
duce us to consume an undue amount of time and 
energy. It requires a goodly stock of intelligence 
and conscience to determine, each for himself 
what amusements he shall seek, and where, when 
and how they shall be sought. ' 

«r^f ti!°T ""^-^^l ^ornz.n who, at the social party 
/-L c/.^/^"'^y ^'T^^' P^^ys any kind of a fame 
for 5^aye«, even though they may be trifling 
thereby kindles and fans a flame that in many casfs 
LS^'^f ,r*l"\".^^?'''^- '^^^ person thus tempted 
S.1°".°''m,^'-'J'°P'^^«^^' ^nd '"slies into Ly- 
exdt^ementl^ " "'"''"'^ °' ^"^^'^^ *^^ ^°^'^ «f 

mI^\^'T('^"^"*-!.°^°'°"* ^°r^^ °f amusement 
ettects. So intimately related are mind and body. 



76 HOW TO BEHAVE. 

so influential is the conscience over physical 
processes, that nothing which the conscience con- 
demns can be healthful and recuperative. And it 
is equally true that every form of physical excess 
or of dissipation, inevitably leaves mental recoils 
and moral stings. 

One of the best men of the day, who has seen 
much of life and who has studied many of its 
problems, says: ^'If an amusement sends you 
home at night nervous, so that you cannot sleep, 
and you rise up in the morning, not because you 
are slept out, but because your duties drag you 
from your slumbers, you have been where you 
ought not to have been. There are amusements 
that send a man, next day, to his work, yawning, 
stupid, nauseated, and with blood-shot eyes ; they 
are wrong amusements. There are entertainments 
that give a man disgust with the drudgery of life ; 
with work-tools because they are not swords ; with 
working aprons because they are not princely 
robes • with domestic cattle because they are not 
infuriated bulls of the arena. If anything sends 
you home longing for a life of thrilling adventure, 
for love that takes poison or shoots itself, for moon- 
light adventures and hair-breadth escapes, ^ you 
may depend upon it you are the sacrificed victim 
of unsanctified pleasure. Our recreations are in- 
tended to build us up, and if they pull us down, as 
to our moral or as to our physical strength, you 
may come to the conclusion that they are ob- 



noxious. 



I10XHJU&. ^^ -, J. u 

Wise people judge all so-called r.musements by 
their actual fruits ; by their immediate and their 
remote influence on the body, the mind and the 
soul It is the part of wisdom to cheerfully avoid 
all that prove to be dissipating to physical energy, 
or degrading to moral character ; and the highest 
wisdom as clearly dictates that we cheerfully engage 
in those things which rest, refresh, and energize 
our God-given powers. 



MANAGEMENT OF THE HANDS. ^^ 

Treatment oe Servants. 

There is no surer sign of ill breeding and ill 
feeling than the rude treatment of dependents. 
The obligation of civility to servants should be in- 
culcated especially upon the young American, who 
ought to learn at the earliest period that the acci- 
dental relation of advantage of position, w^hich is 
ever alternating in a country free from prescriptive 
right, gives no title to a haughty demeanor and a 
domiaeering conduct. The recognition of the 
mutual obligation of master and man, and mistress 
and maid, is a certain sign of the true gentleman 
and lady, who will never exact from those tempo- 
rarily placed in subjection to them the civility they 
are unwilling to bestow. The *' thank you," 
'* please," and other courteous expressions of a 
kindly consideration of the obligation of the em- 
ployer to the employed, will be freely proffered 
by all who are fully conscious of their social duties 
and willing to acknowledge them. Policy, as well 
as good breeding, inculcates the necessity of gentle 
treatment and courteous behavior to servants, who 
will seldom fail to respond with a more zealous 
service and a readier obedience to exactions and 
commands rendered less harsh and domineering 
by a soft word and a subdued mastery. 

Management oe the Hands. 

The management of the hands in company seems 
to embarrass young people greatly. This comes 
from the false modesty which induces them to sup- 
pose they are the observed of all observers. Let 
them think only of themselves in due proportion 
of estimate with the vast multitude of mankind, and 
frequent habitually the company of the refined, 
and they will probably overcome much of their 
awkwardness, if they do not acquire a large degree 
of grace. 



78 HOW TO BBHAVB. 

Posing for Kffe;ct. 

To attitudinize, with the view of producing an 
impressive effect upon the beholder, seldom suc- 
ceeds except with the rawest members of society. 
When detected, as it always is by accompHshed 
people of the world, it creates, at first sight, a 
feeling of aversion which it is not easy to eradicate. 
This posing for effect is so old a trick, and so easy 
of detection, that it is surprising any person who 
has reached the years of discretion should attempt 
to play it. Yet how often do we see it, in its va- 
rious phases of the delicate young lady with the 
languid air, the listless step, or die-away posture ! 
— the literary young lady with the studiously neg- 
lected toilette, the carefully exposed breadth of 
forehead, and the ever-present, but seldom read 
book ! — the abstemious young lady, who surrep- 
titiously feeds on chops at private lunch, and 
starves on a pea at the public dinner ! — the humane 
young lady, who pulls Tom's ears and otherwise 
tortures brother and sister in the nursery, and does 
her utmost to fall into convulsions before company 
at sight of a dead fly ! — the fastidious young lady, 
who faints, should there be an audience to behold 
the scene, at the sight of roast goose, but whose 
robust appetite vindicates itself by devouring all 
that is left of the unclean animal when a private 
opportunity will allow. We assure our young 
readers that such affectations are not only absurd, 
for they are perfectly transparent, but ill bred, as 
shams of all kinds essentially are. 

Winking and Dozing in Pubi^ic. 

Winking and all knowing glances had better be 
left to the horse jockeys and the frequenters of the 
bar-rooms, billiard saloon, and gambling-tables. 
It would seem hardly necessary to remind any one 
of the indecorousness of sleeping in company, but 



BEAUTIFYING THK HANDS. 79 

it must be recollected that the obligation is equally 
urgent upon all not to put people to sleep. It is 
the duty of every one to be wakeful ; it is equally 
so to be as little somniferous in matter and man- 
ner as possible. An illustration is given of the 
somnolency of Washington Irving, who, according 
to the author, D' Israeli, was taken up bodily from 
a dinner-table where he had fallen asleep, and did 
not awake until set down in the midst of an 
evening party. 

BKAUTii^YiNG THE Hands. 

Much can be done by care to beautify the fingers^ 
upon the grace of which depends greatly the beauty 
of the whole hand. The natural tapering length 
of these can only be preserved by removing from 
them all pinching manacles of kid and jewelry. 
Much of the beauty of the finger depends upon 
the proper treatment of the nails. These, if cut 
too close, deform the finger-ends and render them 
stubby. The upper and free border of the nail 
should always be left projecting a line or so beyond 
the extremity of the finger, and be pared only to 
a slight curve, without encroaching too much on 
the angles. To preserve the half moon, or what 
the anatomists call the lunula, which rises just 
above the root of the nail, and is esteemed so 
great a beauty, care must be taken to keep down 
the skin, which constantly tends to encroach upon 
it. This should be done with a blunt ivory instru- 
ment, and the growth gently pushed away, but 
never cut. By this means, also, the production of 
the annoying ** hang-nail " will be prevented. The 
habit of filing or scraping the nails is fatal to their 
perfection, as it thickens their substance and de- 
stroys their Ccitural transparency. The ordinary 
finger-brush should alone be used for cleaning and 
polishing the nails. The ugly habit of biting the 



8o HOW TO BKHAVE. 

nails is fatal to their beauty. They become exces- 
sively brittle in consequence, not being allowed 
time to acquire their natural toughness, and, more- 
over, the ends of the fingers, being unsupported, 
turn over, forming an ugly rim of hard flesh, 
which will prevent the regular growth of the nail. 

Causes oi^ Dki^ormkd Fe;et. 

The tight shoe or boot, too narrowly toed, is 
exclusively responsible for that painful affection, 
ingrowth of the toe-nail. If treated in time, it 
can be easily and simply cured. All that is neces- 
sary is to scrape down the nail until it becomes 
quite thin, and then cut the projecting edge of it 
in a semilunar form, with its concavity looking 
outward from the foot. The nail of the great toe 
should always be thus pared, care being taken not 
to clip the angles. This causes it to grow toward 
the centre, and shrink from the tender flesh at the 
sides. Chloroform now happily fulfills the service 
for the rendering of which this awkward process 
was barely a pretext. Though the operation has 
thus become painless to the insensible patient, it 
has lost none of its horror to the spectator. The 
surgeon, grasping the toe, thrusts the sharp-pointed 
blade of a pair of scissors under the nail as far as it 
will go, and then, cutting it in two, tears out each 
half with a pair of pincers from the quivering flesh 
in which it has been long imbedded. No one, not 
even the slave of fashion, should submit to any 
form of the boot or shoe other than the broad-toed, 
which is fortunately now in vogue. 

The foot, like the hand, is subject to the in- 
firmity of excessive perspiration. It is to be 
remedied by the same general and local treatment. 
The habitual daily washing of the feet should be 
with cold rather than with warm water, and a 



AWKWARDNESS IN SITTING. 8i 

powder of starch or arrowroot, which it would be 
well to perfume with bitter almonds, orris, or some 
other no more intrusive odor, should be sprinkled 
in the inside of the stocking. 

Carej of 'THE) Te;kth. 

A wholesome condition of the teeth is not only 
essential to good looks, but to daily comfort and 
permanent health. Chewing of the food, so ne- 
cessary to a good digestion, cannot be properly 
performed with weak and diseased masticators, 
which are, in fact, the frequent cause of dyspepsia 
and other affections of the stomach. I^ocal dis- 
eases of the most tormenting kind, such as neu- 
ralgia and the various painful face, head, and ear 
aches, and disorders of the eye, as well as the fatal 
cancer and tedious ulcers of the tongue and lips, 
are often due to no other cause than a decayed and 
ragged tooth. 

Awkwardness in Sitting. 

Many ladies, by not bending the knees, render 
their walk very ungraceful. The posture, more- 
over, if too rigid, particularly in sitting, has an 
exceedingly ugly look. Some folks are unable to 
sit on a chair, though they have so many oppor- 
tunities of learning how to do it. While some 
never fairly get on a seat but to their own manifest 
discomfort, and that of all who look upon their 
misery, poise and balance themselves on the sharp 
edge, there are others who roll their bodies up into 
heaps, as it were, and throw them with an audible 
bounce deep into the receptacle, whatever it may 
be. Every one seating himself should take his 
place deliberately, and so completely that he may 
feel the full repose of the chair, which it is designed 



82 HOW TO BBHAVB. 

to give. The limbs, once at rest, should be moved, 
if moved at all, as noiselessly as possible ; and all 
extraordinary actions, such as lifting, for example, 
one leg high upon the other, and holding it there 
manacled by a grasp of the hand, should be 
avoided. A person striding a chair, and grinding 
his teeth, and thrumming his hands on the back, 
has by no means an elegant look to the observer 
before or behind. This practice, which is never 
becoming in any company, is simply indecent in 
that of women. 



About Bi^ushing. 

Blushing, which, as a sign of modesty, may be 
commendable in the young, especially of the female 
sex, is by no means always pleasing and worthy of 
encouragement. When immoderate and inoppor- 
tune, it becomes a social nuisance. There is a false 
shame, which is the very reverse of true modesty. 
The usual signs of the fictitious quality are shy- 
ness, with the common accompaniments of frequent 
and ill-timed blushing, hesitancy of speech, hang- 
ing of the head, downcast eyes, sidelong glances,! 
shambling and stumbling gait, restlessness of post- 
ure, and a general air of voluntary shrinkage, if 
we may be allowed the term. This false modesty 
is the result of a genuine vanity, which, overesti- 
mating self, fancies it the object of universal atten- 
tion. This naturally begets a sensitiveness and an 
anxiety about personal appearance so great that 
they embarrass the whole behavior ; for these ex- 
cessively vain persons, fancying all eyes constantly 
upon them, would desire to make a figure in society 
of which they are manifestly incapable. Of this 
they are the first to become conscious, and their 
hopelessness of success is painted in strong colors 
upon the face, and visibly impressed upon every 



ABOUT BLUSHING. 83 

limb and feature. There are persons who live to 
an advanced life, and yet retain this fault. It has 
often proved fatal to the social qualities of some 
who have been otherwise singularly well adapted 
not only to receive from society, but to bestow upon 
it, both distinction and happiness. 



84 HOW TO BEHAVE. 



STRAY HINTS. 

Enjoy Tun Present Hour. 

There is an Eastern legend of a powerful genii, 
who promised a beautiful maiden a gift of rare value 
if she would pass through a field of corn and, with- 
out pausing, going backward, or wandering hither 
and thither, select the largest and ripest ear, — the 
value of the gift to be in proportion to the size and 
perfection of the ear she should choose. She passed 
through the field, seeing a great many well worth 
gathering, but always hoping to find a larger and 
more perfect one, she passed them all by, when, 
coming to a part of the field where the stalks grew 
more stunted, she disdained to take one from these, 
and so came through to the other side without 
having selected any. This little fable is a faithful 
picture of many lives, which are rejecting the good 
things in their way and within their reach, for 
something before them for which they vainly hope, 
but will never secure. On a dark night and in a 
dangerous place, where the footing is insecure, a 
lantern in the hand is worth a dozen stars. It is 
well to look beyond the present into the future, and 
in the vSeason of strength and prosperity, to make 
provision for a time when misfortune and old age 
may overtake us. But this does not mean that we 
should ignore the present altogether, nor that our 
pleasures should consist solely in the anticipation 
of some future prosperity or expected success. 

Make Home Attractive. 

Some one has said that the three sweetest words 
in our language are, *' Mother, Home and Heaven.*^ 
We may well pity that being so unfortunate as not 



A SUNNY TEMPER. 85 

to have enjoyed the blessings of a happy home, for 
in the battle of life we need to be armed with the 
counsels and prayers of a mother, and all holy and 
sweet home influences, if we are to successfully 
meet the snares and perils which will beset us. 
Home is the paradise in which this wonderful world 
is first revealed to our growing consciousness, and 
as from its safe shelter we look out upon life we 
form our estimate of it according to the impressions 
and teachings we there receive. If the home is 
brightened with the sunshine of love, its radiance 
is reflected in all around us, and the whole world 
appears to us only as one family, — full of kind 
thoughts, tender sympathies, gentle ministrations 
and noble deeds. If the home life is sour, gloomy 
and unhappy, then we see the whole world through 
the same atmosphere of misery and discontent ; 
and it is to us only a dull, dismal prison, crowded 
with selfish souls, whose petty strifes and base 
actions cause perpetual turmoils and unhappiness. 

Parents, depend upon it, you have no holier nor 
higher work to do than to make home attractive. 
In after years your endeavors will be repaid a 
hundred fold by the grateful affection, the happy 
memories, and the noble lives of your children, 
who, whatever their success elsewhere, will ever 
turn to the old homestead and its inmates as the 
Mecca of their earthly pilgrimage. 

A Sunny Tejmper. 

If it were possible for us to invoke the aid of 
some powerful genii, who, as we passed through 
life, could summon troops of loving friends around 
us, and make our pathway radiant with their 
smiles and blessings, we should think no labor too 
arduous, no sacrifice too great to procure such in- 
estimable happiness. If such a beneficent fairy 
held court and dispensed such favors, though she 



86 HOW TO BEHAVJS. 

dwelt m the uttermost parts of the earth, what 
caravans of eager pilgrims would throng to that 
favorite realm ! We often forget that the priceless 
charm which will secure to us all these desirable 
gifts is within our reach. It is the charm of a 
sunny temper,— a talisman more potent than sta- 
tion, more precious than gold, more to be desired 
than fine rubies. It is an aroma, whose fragrance 
fills the air with the odors of Paradise. It is an 
amulet, at sight of w^hich dark clouds of perplexity 
and hideous shapes of discord flee away. It 
wreathes the face with smiles, creates friends, pro- 
motes cheerfulness, awakens tenderness, and scat- 
ters happiness. It fills the heart with joy, it robs 
sorrow of its pain and makes of earth a very heaven 
below. 

VaIvUE of Femal:^ Sociei^y to Man. 

One of the most marked men of this century, 
Disraeli, who achieved distinction in many differ- 
ent lines of thought and action, toward the close 
of a career of extraordinary success, m.ade the re- 
markable statement that **a female friend, am- 
iable, clever and devoted, is a possession more val- 
uable than parks and palaces, and without such a 
nurse, few men can succeed in life, — none be con- 
tent.*' The reason why multitudes of gifted and 
brilliant men fail in their career, is for want of the 
very traits of character which female society w^ould 
impart. How many men are intellectual, well in- 
formed, and possess a complete practical knowl- 
edge of the pursuit they enter upon ! but they are 
brusque^ imperious, and overbearing ; they lack the 
urbanity of demeanor, the consideration of others* 
feelings, the gracefulness of expression, which are 
necessary to conciliate men and to draw them to 
themselves ; and for the need of these qualities 
their progress is impeded, or they fail in their plans 



TRUB POLITENESS. 87 

altogether. The female character possesses those 
qualities in which most men are deficient, — the 
delicate instincts, the acute perceptions, the ready- 
judgment, the wonderful intuitions, — these all 
belong to her by native right, and are usually 
acquired by men through her influence. 

HoMK Maxims. 

The following maxims, if put in practice daily, 
would do much to promote harmony and good 
feeling in the home : 

** Never make a remark at the expense of the 
other ; it is meanness.'* 

** Never manifest anger.** 

** Never speak loud to one another, unless the 
house is on fire.'* 

** Never reflect on a past action which was done 
with a good motive, and with the best judgment." 

" Never part without loving words to think of 
during your absence. Besides, it may be that you 
will not meet again in life.'* 

**Iyet each one strive to yield oftenest to the 
wishes of the other, which is the mutual cultiva- 
tion of an absolute unselfishness. " 

True) Poi,ite:nkss. 

Politeness has been called the oil which makes 
the wheels of society run smoothly ; and certainly 
it does greatly lessen the friction of daily contact 
with each other. Keen perceptions, a wise dis- 
cernment, and a natural power^ of imitation, with 
much contact with the world, are the essential re- 
quirements of polished manners. It has been said 
* ' that the best bred man is he who is possessed of 
dignified ease, to reconcile him to all situations 
and society." This is not attained so much from a 
k^nowledge of the rules of etiquette, as by an innate 



88 HOW TO BKHAVB. 

nobility of character, a greatness of soul, and 
proper self-respect. True politeness is never the 
product merely of punctilious conformity to estab- 
lished usages, although it is necessary to have a 
knowledge of these, but rather of an overflowing 
kindness of heart, a generosity of spirit, and a 
sacred regard for the golden rule. Indeed, the 
grand foundation on which the etiquette of all civ- 
ilized countries is based, is that of doing to others 
as you would they should do unto you, and in pre- 
ferring others to yourself 

Mock Modesty. 

A proper sense of modesty is a virtue which 
makes real merit more charming, because seem- 
ingly unconscious of excellence. But carried to an 
excess it will tend to dwarf the powers, cripple the 
energies and defeat the great purposes of life. When 
a man is well qualified to do a certain thing, and 
feels that he can and ought to do it, but is im- 
pelled by modesty to shrink back into obscurity 
for fear of bringing himself into notice, then has 
his modesty degenerated into cowardice, and in- 
stead of consoling himself that he is cherishing a 
great virtue, he needs the lash of stern rebuke for 
his lack of manliness. One of the most charming 
of essayists, says : * ' I have noticed that under the 
notion of modesty men have indulged themselves 
in a spiritless sheepishness, and been forever lost 
to themselves, their families, their friends and their 
country. I have said often, modesty must be an 
act of the will, and yet it always implies self-denial, 
for if a man has a desire to do what is laudable for 
him to perform, and from an unmanly bashfulness 
shrinks away and lets his merit languish in silence, 
he ought not to be angry with the world that a more 
unskillful actor succeeds in his part, because he has 
aot confidence to come upon the stage himself *' 



WHEN '^ SMALL-TAIvK '' IS TIMELY. % 
The) Art of Conve^rsation. 

To converse well requires more than mere in- 
formation or knowledge, combined with a ready 
facility of expression. There must also be sound 
judgment and a good heart, for without these all 
other triumphs are hollow and delusive. Our con- 
versation should be such as will be agreeable t@ 
others ; the subject of it should be appropriate t® 
the time, place and company, and we should avoid 
all bitterness, all thoughtless criticisms, all un- 
seemly ridicule, and the heartlessness which wounds 
the feelings and disturbs the peace of those who 
listen to us, — and then our presence will be wel- 
comed, and we shall diffuse pleasure and promote 
friendship. All the resources of tact and wisdom 
may be summoned into action in the exercise of 
our colloquial powers. An ancient philosopher 
made it a rule to divide the day into several parts, 
appointing each part to its proper engagement, and 
one of these was devoted to silence wherein to 
study what to say. What innumerable heart-burn- 
ings ; what a multitude of quarrels ; what a host 
of local feuds would be avoided, if this wise rule 
were universally followed ! 

When * ' SmaIvVTat^k " is TimkIvY. 

One of the first requisites of conversation is t® 
have something worth saying. Lowell once said, 
** Blessed are they who have nothing to say, and 
cannot be persuaded to say it ; " and another re- 
marked, '* There are few wild beasts to be dreaded 
more than a communicative man with nothing to 
communicate." Clearly, this might be aimed at the 
small-talk habits of some. 

Carlyle, in his rugged, vigorous style, expresses 
himself quite as strongly to the same point : *' Thou 
who wearest that cunning, heaven-made organ, a 



90 HOW TO BEHAVE. 

tongue, think well of this : Speak not, I passion- 
ately entreat thee, till thy thought have silently 
matured itself, till thou have other than mad and 
mad-making noises to emit ; hold thy tongu^ till 
some meaning lie behind it to set it wagging. Con- 
sider the significance of SiIvEnce: ; it is boundless, 
"—never by meditating to be exhausted ; unspeak- 
ably profitable to thee ! Cease that chaotic hub-bub 
wherein thy own soul runs to waste, to confused 
suicidal dislocation and stupor ; out of silence 
comes strength. " 

The ground-work of conversation is knowledge 
of the subject under consideration, and without 
this words are but useless sounds. Yet there are 
conditions in which a vigorous flow of ** small- 
talk,'* we talk with no particular object or value. 
Live to enliven and keep in good humor, is most 
desirable. 

M0NOPOI.IZING Tai^kkrs. 

An eminent clergyman once administered this 
rebuke to a young" lady, who absorbed the en- 
tire time of the company by her small talk : 
*' Madam, before you withdraw, I have one piece 
®f advice to give you, and that is, when you go 
into company again, after you have talked half an 
hour without intermission, I recommend it to you 
to stop awhile, and see if any other of the company 
has anything to say." There are few persons of 
such rare learning and ability that one can afford, 
when in their company, to be only a listener. 
There is a Chinese proverb that *' a single conver- 
sation across the table with a wise man is better 
than ten years' study with books.'* But how com- 
paratively few good talkers there are, and how 
lightly is the art esteemed. And yet, will it not 
always be true that '' Words fitly spoken are like 
apples of gold in pictures of silver? " 



BNJOY YOUR YOUTH. 91 

A Point on Being Wei^i. Drkssejd. 

A celebrated English divine once said to a lady : 
** Madam, so dress and so conduct yourself, that 
persons who have been in your company shall not 
recollect what you had on." To be well dressed 
does not necessarily mean that your apparel should 
be a copy of the latest whim of fashion, or made 
of the costliest material. That person is well 
dressed whose attire shows a suitableness to cir- 
cumstances of time and place, and the position and 
means of the wearer. Neglect and inattention to 
the small externals of dress should be carefully 
guarded against. 

Enjoy Your Youth. 

Youth comes to us but once ; it is the season 
of golden hopes, of overflowing spirits and of 
joyous anticipations, and so it demands surround- 
ings suited to these emotions. You may require 
no recreation but such as your business and daily 
toil supply ; your mind may be absorbed in your 
plans and schemes, which appear to you of almost 
as much importance as the affairs of an empire, 
and with this you are satisfied ; but, if so, your 
eyes are not young eyes, and your heart must have 
long ago been dead to the voices of your youth, to 
expect that j^our children will be contented and 
happy, unless you respond to some of the impulses 
of their joyous natures. If you have not already 
the refining power of music in your little circle, 
procure a piano or organ, and encourage your 
children to sing and play. Surround yourself with 
a little social circle of your own. Adorn your 
walls with pictures and thus cultivate a love of 
art ; subscribe to a standard magazine or two, and 
provide them with such books as will give them 
glimpses of what is going on in the world around 
them. 



92 HOW TO BEHAVE. 

The Superior Hostess. 

A superior hostess does not make her house a 
spectacle. She infuses into her hospitalities the 
charm of comfort and purity, the sweetness of 
friendship, the sacredness of the relation between 
the entertainer and the entertained ; and between 
herself and even the humblest of her guests there 
is a recognizable tie which is as dissimilar to that 
which fastens her interest to another guest as its 
variation is charming. 

A UsEEuiy Hint. 

At an evening visit or entertainment, if the in- 
vited person departs before the usual and specified 
hour, he and she should omit formal adieus, if 
possible, to avoid putting the thoughts of an un- 
usually early departure into the minds of other 
guests ; but if an unnoticed departure is impossi- 
ble, the leave-taking should be quietly done, the 
hostess expressing her regret at the early depart- 
ure, but on no account can she request a delay that 
some necessity has demanded. It would be as un- 
kind as it would be indelicate to urge a guest to 
inconvenience himself for the sake of keepmg a 
crowd intact at a fashionable crush, or even at a 
small party. 



HOW TO AMUSE. 




Till DvNLiN re (_ 

Place the egg (which should be hard-boiled, 
not raw) upon the under-side of a smooth tray, 
and move the tray round and round horizontally, 
gradually increasing in speed. The egg^ resting 
in the middle of the tray, is carried round and 
round by the movement, and gradually begins to 
revolve on its own axis, faster and faster, till at 
last it is seen to rise on end, and spin away ex- 
actly as a top would do. 

In all experiments involving egg-balancing, 
you will find it a material aid to success to keep 
the egg upright in the saucepan while it is being 
boiled. The air-chamber will, in such case, be 
kept central with the longer axis of the egg, which 
will in consequence be much more easily balanced. 

To set the egg spinning as above described de- 
mands a considerable amount of practice, not to 

(93) 



94 HOW TO AMUSB. 

mention some strength, and, still more, address. 
For the benefit of those who may prefer to succeed 
at the first attempt, I will indicate a simpler plan 
of proceeding : — . . .^ • ^ 

Place the tray on the table, letting it project so 
far over the edge as to be readily and rapidly 
grasped by the hand. Place the egg m the middle, 
and with the thumb of the left and the first finger 
of the right hand placed at opposite ends, set it 
vigorously spinning. It will immediately rise on 
end, still spinning. Quickly seize the tray, and 
you will then have nothing to do but to keep the 
egg still rotating, which is a very easy matter 
This is done by moving the tray m horizontal 
circles, but in the reverse direction to that m 
which the egg revolves. 

Th:e^ O1.D FamiIvY Coach. 

Miss Annie and Clara and the Little Dog de- 
cided to take a ride in the Family Coach, so, 
whip in hand, the fat Coachman shut the Door, 
mounted the box, the Little Dog barked, when 
they entered the Family Coach, and almost fell 
among the Wheels. Miss Clara and Annie scolded 
the Coachman for being so careless in starting the 
Family Coach too soon, and putting the Little Dog 
in danger of falling among the Wheels Final y 
the Coachman cracked his whip and the Family 
Coach started in good shape, the I^ittle Dog bark- 
ing furiously. Everything went well with the 
Family Coach for a few miles, till the Coachman 
spied a pretty girl on the road He kept looking 
after her and did not see that he was putting the 
Family Coach and horses in danger, when crash ! 
went the Family Coach. Miss Clara and Miss 
Annie screamed, the Little Dog barked ; tbe Coach- 
man shouted, the Wheels went m different direc- 
ttons, and the Axle, the Whiffle Tree and all the 



the; gamk of quotations. 95 

parts of the Family Coach were left in a heap in 
the road, in care of the Coachman, while Miss 
Clara, Miss Annie and the Little Dog went home 
on foot. Such were the adventures of the Family 
Coach. 

Assemble the company, and give to each one of 
the names that are capitalized in the first para- 
graph, four being Wheels, two Axles, one the 
Whiffle Tree and one the Door, the names of the 
ladies to two, and select the tallest person in the 
room for the Little Dog. After all the names of 
all the parts are given, some one stands in the 
m.iddle of the floor and reads the Adventures of 
the Family Coach. 

Each time the Family Coach is mentioned every 
one in the room should rise, turn around three 
times, and sit down again. When the wheels are 
mentioned, four persons bearing the names of 
Wheels also rise, turn around three times, and sit 
down. The Little Dog barks, the Coachman 
shouts, the two ladies bow when their names 
(Miss Clara and Miss Annie), are called. There 
is great fun when the Little Dog is called on re- 
peatedly to rise, turn, and sit down again. When 
the Horses are mentioned four persons also rise, 
turn around, etc. , and so until disaster overtakes 
the Coach. This game causes much merriment, 
and general good feeling. 

Thk Game oi^ Quotations. 

All the members of the company being seated, 
each is provided with pencil and paper. Some 
one gives a quotation, while the other players write 
the speaker's name upon their papers, and oppo- 
site it the name of the author from whom they 
believe he has quoted. After each in turn has 
given a quotation, the papers are collected and 
re-distributed, care being taken that no one shall 
receive his own. Then each repeats the quotation 



96 HOW TO amuse:. 

originally given, this time adding the name of 
the author; the other players correcting mean- 
while the papers held by them. The person who 
has given the largest number of authors correctly 
wins a prize. For example, the first player rises 
and says : 

Colors seen by candle-light 
Do not look the same by day. 

The next says : 

Handsome is that handsome does. 

And so on until all have given quotations. 
When the papers are exchanged, No. i, again ris- 
ing says : 

Colors seen by candle-light 
Do not look the same by day. 

Mrs. Browning. 
No. 2: 

Handsome is that handsome does. 

Goldsmith. 

And so on through the list. If any player has 
substituted some other name for Browning or 
Goldsmith, or has failed to write the name of any 
author, it must be marked as incorrect. One 
player then collects and compares all the papers 
and announces the winner of the contest. 

Crambo. 

Bach member of the party is provided with 
paper and pencil, also with two small cards or 
slips of paper, upon one of which is to be written 
a question and on the other a single word. The 
questions and words are collected separately and 
re- distributed, whereupon each player must answer 
in rhyme the question he has drawn, introducing 
into the rhyme the word on the other card. The 



PICTURED QUOTATIONS. 97 

time is limited to five minutes, and when this has 
expired, each reads aloud the result of his labors, 
first giving the question and word received. To 
make the game more interesting it is sometimes 
required that the word received shall be made a 
rhyming word. Here is an example : A writes 
for his question "Where is the end of the rain- 
bow?" and for his single word "goose." In the 
allotted time he writes the following : 

You ask where the end of the rainbow is found; 

Just answer yourself if you can, sir. 
For ' ' anser' ' in Latin in English means * * goose/' 

And I'm not such a goose as to answer. 

Pictured Quotations. 

At the top of a half sheet of paper (each player 
having one), a picture is rudely drawn illustrating 
some quotation. When all the drawings are fin- 
ished each player passes his paper to his right- 
hand neighbor, who writes his interpretation of 
the picture at the bottom of the paper, turning 
the paper over to conceal the writing and passing 
it on to the next player. When each has written 
on all the papers and they have returned to their 
owners, they are unfolded and their contents read 
aloud, the correct quotation being given last. As 
an instance, A draws a casement window through 
which is seen a face gazing at a cluster of stars. 
The paper is passed to No. i, and he writes as his 
interpretation : 

In the prison cell I sit, thinking mother dear of 
you. 

No. 2 writes : 

Mabel, little Mabel, with her face against the 
pane. 



98 HOW TO AMUSE. 

None guess correctly, so A explains tliat it 

illustrates this couplet from Tennyson's ' ' Locksley 

Hall:'^ 

Many a nigM from yonder ivied casement ere I 
went to rest, 

Have I looked on great Orion sloping slowly to- 
ward the West. 

Cross Questions. 

The company is divided into two equal parts, 
and blank cards and pencils are distributed. One 
side writes questions on any subject desired, v^hile 
the other prepares in like manner a set of hap- 
hazard answers. The question cards are then col- 
lected and distributed to the players on the other 
side, while their answers are divided among the 
questioners. The leader holding a question then 
reads it aloud, the first player on the other side 
reading the answer he holds. Some of the answers 
are highly amusing. 

Thk Game oi^ Rhymes. 

A variation of the former game. The game is 
begun by a young lady or gentleman speaking a 
single line, to which the next nearest on the left 
must respond with another line to rhyme with the 
first. The next player gives a new line, of the 
same length, and the fourth supplies a rhyme in 
turn, and so on. The game is provocative of any 
amount of fun and nonsense. A sample may be 
given. 

ist Player. — I think I see a brindle cow. 

2d Player. — It's nothing but your dad's bow 

wow. ^ ^ ^ ^ 

3d Player.— He is chasing our black Tommy cat. 
4th Player. — Poor puss had best get out of that, 

etc. 

Any amount of nonsense may be indulged m a 



FRENCH RHYMES. 



99 



game o^ this sort, within proper limits. Clever 
players can easily give the game a most interest- 
ing turn and provoke rhymes that are original 
and witty. Thus, a subject once started, every phase 
of it may be touched upon before the round closes. 




Thk Fivk-Straw Puzzi^e;. 

You are supplied with five straws of equal length 
(about three and a half inches), and you are re- %.. 
quired to lift all five, holding only the tip of one 
of them. A glance will show you the arrangement 
of the ^Ye little straws and the coin in their cen- 
tre, which is, as will be seen, as simple as possi- 
ble — ^when you know it. The use of the coin is 
an optional addition. It wedges all tight, and 
prevents the straws slipping when once put 
together; but it is by no means indispensable. 

Fre^nch Rhymes. 

Each member of the company writes upon a 
slip of paper two words that rhyme. These are 
collected by one player and read aloud, and as 



loo HOW TO AMUSB. 

they are read everybody writes them down upon 
new papers. Five or ten minutes being allowed, 
each player must write a poem introducing all the 
rhyming words in their original pairs. At the 
expiration of the given time the lines are read 
aloud. Suppose the words given are ''man and 
than, " * ' drops and copse, ' ' " went and intent, ' * 
etc., these are easily framed into something like 
this: 

Once on a time a brooklet drops, 

With splash and dash, through a shady copse; 
One day there chanced to pass a man, 
Who, deeming water better than 

Cider, down by the brooklet went, 

To dip some up was his intent. 

Of course the result is nonsense, but it is pleas- 
ant nonsense, and may be kept up indefinitely, to 
the entertainment of the participants. 

Wh:e:rk's Your IvKTT:eR Going ? 

All being seated, two of the company are chosen, 
one for postmaster, the other for carrier. The 
Postmaster gives the name of some city to each 
person, writing the names down upon paper as 
they are given. The carrier, blindfolded, stands 
in the middle of the room and the postman calls : 
* ' I have a letter to go from Philadelphia to St. 
Louis. ' ' 

As the names are mentioned, the persons repre- 
senting these cities change places, the carrier at 
the same time trying to catch one of them. If he 
succeeds, and can, while blindfolded, give the 
name of the captured player, the latter becomes 
-carrier in turn. When the postman says : " I have 
letters to go all over the world, ' ' everybody rises 
and changes places, and if in the confusion the 
carrier captures a seat, the player who remains 
standing becomes carrier in turn. 



THE DIVIDED PBAR. loi 




Thk Divided Pear. 



I02 HOW TO AMUSK. 

Problem : To find the position in which a knife 
must be held that a pear, suspended high up near 
to the ceiling, shall, on the severing of the thread 
to which it is attached, so fall as to cut itself in 
half upon the blade. There is no necessity for 
line or plummet ; we need only dip the suspended 
pear in a glass of water, which we forthwith re- 
move. The water drips from it ; we note the exact 
spot on floor or table where the drops fall, and 
make a private mark on such spot. 

This is done privately beforehand, so that the 
company, on their arrival, find the pear suspended 
in readiness for the feat, and know nothing of 
the tell-tale ' ' drop. ' ' 

At the proper moment you hold the knife, edge 
upward, immediately over the point which you 
have marked, while some one applies a lighted 
match to the thread. If you have duly followed 
our instructions, the pear, in falling, should cut 
itself in half upon the blade. 

For the experiment as above described one knife 
only is used ; but it may also be performed with 
two knives, as shown in our illustration. 

The: Game) oe^ Bouquk'T. 

Each player composes in turn a bouquet of three 
different flowers, that he names aloud to the per- 
son conducting the play. The leader then writes 
the names of the flowers, and after them the 
names of three persons in the room. He then 
demands of the player w^ho has composed the 
bouquet, what he intends doing with the flowers, 
and upon their proposed disposition being de- 
clared, the names of the three persons they repre- 
sent are read aloud. 

KXAMPI^K. 

Leader. — **Miss A, choose three flowers.*' 
Miss A. — ' ' A rose, an aster and a pansy. ' * 



TONGUB TWISTERS. 103 

L. — "I have written them. Now what will you 
do with the rose?" 

A. — ' ' I will throw it out of the window. ' * 

L. — '*And the aster?" 

A. — ' ' I will put it in a vase. ' ' 

L. — ''And the pansy?" 

A. — ''I will always keep it near me. " 

ly. — ' ' Very well. You have thrown Mr. A out of 
the window, put Mr. B in a vase and expressed a 
desire to keep Mr. C always near you. ' ' 

The Ai,!,- Around S'Tory Game. 

This is a very entertaining game and productive 
of general merriment, if conducted at all cleverly 
by the players. One person in the room begins 
to relate a story, and after telling enough to inter- 
est his hearers and arouse their curiosity, suddenly 
breaking off, throws a knotted handkerchief at 
some other member of the party, calling upon 
him to continue the narrative. This is kept up 
as long as possible, the more absurd and improb- 
able the plot of the story the better. If any one 
fails to respond upon receiving the handkerchief, 
he or she must pay a forfeit. 

ToNGUE-TwiS'TERS. 

The amusing game of tongue-twisters is played 
thus: The leader gives out a sentence (one of the 
following), and each repeats it in turn, any player 
who gets tangled up in the pronunciation, having 
to pay forfeit. 

A haddock! a haddock! a black-spotted had- 
dock, a black spot on the black back of the black- 
spotted haddock. 

She sells sea shells. 

She stood at the door of Mr. Smith's fish-sauce 
«hop, welcoming him in. 



I04 HOW TO AMUSE). 

The sea ceaseth and it sufficeth us. 

Six thick thistle sticks. 

The flesh of freshly fried flying fish. 

A growing gleam glowing green. 

I saw Ksau kissing Kate, the fact is we all three 
saw ; I saw Ksau, he saw me, and she saw I saw 
Ksau. 

Swan swam over the sea ; swim, swan, swim ; 
swan swam back again ; well swum, swan. 

You snuff shop snuif, I snuff box snuff. 

The bleak breeze blighted the bright broom 
blossoms. 

High roller, low roller, rower. 

Oliver Oglethorp ogled an owl and oyster. Did 
Oliver Oglethorp ogle an owl and oyster? If 
Oliver Oglethorp ogled an owl and oyster, where 
are the owl and oyster Oliver Oglethorp ogled? 

Hobbs meets Snobbs and Nobbs ; Hobbs bobs to 
Snobbs and Nobbs ; Hobbs nobs with Snobbs and 
robs Nobbs' fob. ''That is," says Nobbs, "the 
worse for Hobbs' jobs, "and Snobbs sobs. 

Susan shines shoes and socks ; socks and shoes 
shine Susan. She ceaseth shining shoes and 
socks, for shoes and socks shock Susan. 

Robert Rowley rolled a round roll round ; a 
round roll Robert Rowley rolled round. Where 
rolled the round roll Robert Rowley rolled round? 

Strict, strong Stephen Stringer snared slickly 
six sickly, silky snakes. 

To Bai^anck a Pkncii. on its Point. 

Dig the blade of a half open penknife into a 
pencil, a little above the point, and to open or 
close the blade, little by little, till you find that 
the balance is obtained. The combination of pen- 
cil and penknife thus placing itself in equilibrio 
is an illustration of a familiar law of mechanics ; 
the centre of gravity of the combination falls below 



TO BAIvANCS A PKNCIIy. 



105 



the point of support (the finger, edge of the table, 
or the like), and thus stable equilibrium is ob« 
tained. 




By varying the degree of opening of the pen- 
knife, you impart corresponding degrees of in- 
clination to the pencil. When the centre of 



io6 HOW TO AMUSK. 

gravity of the two combined falls in the same line 
as the axis of the pencil, the latter v/ill assume a 
perpendicular position. 

My Grandi^athkr'S Trunk. 

A great game for young folks of a winter even- 
ing. The company being seated in a circle, some- 
body begins by saying, for instance : 

No. I. ''I pack my grandfather's trunk with a 
pair of spectacles. ' ' 

No. 2. '*I pack my grandfather's trunk with a 
pair of spe":tacles and a silk hat. " 

No. 3. ' I pack my grandfather's trunk with a 
pair of spectacles, a silk hat and a dime novel. ' * 
And so on, each person repeating all the articles 
already mentioned, beside adding a new one. 

If any one fails to repeat the list correctly, he 
drops out of the game, which is continued until 
the contents of the trunk are unanimously declared 
too numerous to remember. 

How, When and Where. 

One member of the company leaving the room, 
a word admitting of more than one interpretation 
is chosen by the others. On his return, he asks 
each in succession, "How do you like it?" The 
player questioned being required to give an appro- 
priate answer. He then inquires in similar man- 
ner, "When do you like it?" and if the answer 
to that question still give him no clue, proceeds 
to ask, "Where do you like it?" 

When he at last discovers the word, the person 
whose answer has furnished him with the most 
information, must in turn leave the room and 
become the questioner. 

We will suppose the word chosen to be "rain, ** 
which can also be taken as "reign" or "rein." 



DRIVB A NKEDIvK THROUGH A CKNT. 107 

The question "How do you like it?" receives 
the answers ' ' tight, " ' * heavy, " * ' short, ' ^ 
* ' warm, ' ' etc. 

The question ''When do you like it?" **In 
summer, " " When I am driving, " ' ' In the nine- 
teenth century, ' ' etc. 

* ' Where do you like it?" * ' In Kngland, " ' ' On 
a horse, " * ' In the sky, ' ' etc. 

"I IvOVE) My IvOVe:. " 

A pretty game and a prime favorite with coun- 
try lads and lasses. The leader commences by 
saying, *'I love my love with an 'A' because she 
is Angelic, because her name is Araminta and 
because she lives in Atlanta. I will give her an 
Amethyst, feed her upon Almonds and make her 
a bouquet of Anemones. ' ' The next player, tak- 
ing the letter " B, " loves Jiis love in the same set 
of phrases, only because she is Bewitching, her 
name is Belinda, etc. The next takes ' ' C, " and 
so on through the alphabet, omitting the letter X* 

Any one failing to supply the required words 
promptly gives a forfeit. 

To Driv:ej a Ne:e;di,:^ Through a Cejnt. 

To drive a needle through a cent, particularly 
if the needle be a fine one, seems at first sight an 
impossibility. It is, however, a very easy matter, 
if you set about it in the right way. Thrust the 
needle through a cork, allowing the point to pro- 
ject slightly, and then, with a pair of cutting- 
pliers, nip off all that remains exposed at the 
opposite end. Place cork and cent as shown in our 
illustration, or simply let the coin rest on a piece 
of soft wood, and hammer away vigorously on the 
top of the cork. 

The needle, being steel, is harder than the 
bronze of the coin, and the cork preventing it 



lo8 HOW TO AMUSE. 

from bending to either side, it may be driven 
through the cent, or any other coin of like sub- 
stance, with perfect ease. 

The cork should be kept in position with the 
left hand, while receiving the blows of the ham- 
mer. 




Provkrbs. 

This game requires the players to be alert and 
on the watch for the words that give the clue to 
the solution. One player (A) having gone from 
the room, a proverb is selected by the others, of 
which each person takes a separate word, in 
order. The absent player then being recalled, pro- 
ceeds to question the others singly, each introduc- 
ing in his answer the word of the proverb he has 
previously received. Suppose the proverb selected 
to be * ' Nothing venture nothing have, * ' the game 
would proceed thus : 



TOSSING THE RINGS. 109 

A. **Is the proverb a long one?'* 
1st Player. ' * Nothing should be too long for you 
to guess. ' ' 

A. **Have you ever played this game before?' ' 
2d P. * ' Really I cannot venture to say. ' ' 
A. ** Are you fond of parlor games?" 
3d P. * ' Nothing pleases me more. ' * 
A. **Are you enjoying yourself this evening?" 
4th P. **I have enjoyed myself thus far. " 
If A has not by this time guessed the proverb, 
he continues his questions until enlightened, when 
the player whose answer has given him the most 
information goes from the room. 

Rather a noisy way of playing the same game 
is to have all the players at a given signal shout 
their words in unison, leaving the listener to dis- 
tinguish in the uproar some word that shall give 
him a clue to the proverb. The shouting is 
repeated as often as desired until he is successful. 
In either modification of the game the player 
whose answer or word leads the questioner to dis- 
covery becomes the one to go from the room. 

Tossing "run Rings. 

Fasten securely a stick two feet long and an inch 
or more in diameter to the centre of a block of 
wood or piece of board, so that the block forms a 
substantial base for the stick, which should be 
slightly tapered at its upper end. Make out of 
wire six hoops or rings, three of them nine inches 
in diameter, two of them seven inches, and one 
five inches. They should be heavy enough to toss 
easily, perhaps half an inch in thickness. Wind 
these with cloth torn into strips, fastening the 
ends with needle and thread. Use three colors of 
the cloth, the rings of each size being the same 
color. Red, white and blue make a pretty com- 
bination, using red for the largest size, white for 
the next, and blue for the one small one. Now set 



no 



HOW TO AMUSE. 



the standard at some distance from the plaj'-ers, 
and the game begins. One player takes all the 
rings and tosses them one at a time over the up- 
right stick. For each of the large rings which 
he succeeds in getting upon the standard, he 
counts ten ; for each of the next size, fifteen ; and 
for the smallest one, twenty-five. Any number 
agreed upon maybe called a game, and the player 
first obtaining that number of counts wins. After 
one player has thrown all the 4"ings, another player 
takes them, tossing them in the same way. Any 
number of players may take part in the game. 
When once around, the first one tosses again, and 
so on until the game is out. For small children, 
five or six feet is far enough to toss the rings, but 
larger ones may increase the distance. 




Magic Figures. 

Upon a little square of ordinary writing-paper, 

sketch some geometrical figure — square, rectangle, 

triangle, polygon, etc.— using for that purpose a 

pencil whose tip has been moistened with water. 



THB FORCE OF THK BREATH. iii 

Float the paper, with the design upward, on the 
water in a basin, and fill up with water the figure 
you have traced. With a little care you may do 
this without difficulty, for the lines of moisture 
which form the outlines of your figure (a triangle, 
we will suppose) will prevent the liquid overpass- 
ing the limits thereby defined. The water thus 
enclosed will rise in a little heap. Now take a 
pin, and placing the point at any spot you please 
within the triangle, in such manner that the point 
dips into the water but does not touch the paper 
itself, you will see the paper begin to move hori- 
zontally in a straight line until the geometric 
centre of the triangle places itself exactly under 
the point of the pin. You can readily determine 
beforehand this central point, which we will call 
A, and holding the pin as shown in the engrav- 
ing, you will find that the paper travels in the 
direction shown by the arrow, till A comes just 
under the point of the pin, when it will stop of 
its own accord. Repeat the experiment with a 
square or a rectangle, and you will find that the 
spot which is beneath the pin-point, when the 
paper comes to a standstill, is precisely the point 
of intersection of the two diagonals. 

Thk Forck o-^ the Breath. 

When you blow into a paper bag in order to 
swell it out, afterward bursting it with a blow to 
produce the familiar * ' bang, ' ' have you ever 
stopped to ask yourself what was the precise force 
of your breath? You know that such force can be 
measured by the instrument known as the spiro- 
meter, which you occasionally see at a railway 
station or a country fair. But a simple paper bag 
may be made to answer the purpose of the spiro- 
meter, as I propose to explain. 

^ The bag must be rather long and narrow, air- 
tight, and of thin, tough paper. A bullock's 



112 



HOW TO AMUSE). 



bladder will answer the purpose still better. A 
tube should be inserted in the neck, through 
which to blow. Lay it flat, near the edge of a 
table, with the mouth turned toward yourself; 
place various weights upon it, increasing by de- 
grees, and you will be surprised at the weight that 
your breath will thus lift. To upset a couple of 
big dictionaries, placed one upon the other, will 




be mere child's play, as you will find on putting 
the matter to the test. 



Hunt the Ring. 

All the players stand in a circle holding a long 
cord, which forms an endless band upon which a 
ring has been slipped before it was joined at the 
ends. This ring is passed rapidly from one player 
to another — always on the cord and concealed by 
the hand — while somebody in the centre endeavors 
to seize the hands of the person who holds it, who 
when actually caught takes his place within the 
•circle. 



MAGIC MUSIC. 113 

If tlie circle is very large two rings may be 
slipped, upon the cord, and two players placed in 
the centre together. 

A small key may be used instead of a ring, while 
still another variation is to have the concealed 
object a small whistle with a ring attached. When 
this is adopted an amusing phase of the game is 
to secretly attach a string to the whistle and fasten 
this to the back of the player in the centre by 
means of a bent pin at the other end of the string. 
Then while feigning to pass the whistle from hand 
to hand, it is occasionally seized and blown upon 
by some one in the ring, toward whom the victim 
is at that moment turning his back, causing that 
individual to be greatly puzzled. 

Shadow Buf'i''. 

A sheet being stretched across one end of the 
room, one of the players is seated upon a low stool 
facing it and with his eyes fixed upon it. The 
only light in the room must be a lamp placed 
upon a table in the centre of the room. Between 
this lamp and the person on the stool, the players 
pass in vSuccession, their shadows being thrown 
upon the sheet in strong relief. The victim of 
the moment endeavors to identify the other play- 
ers by their respective shadows, and if he suc- 
ceeds the detected party must take his place. 

It is allowable to make detection as difficult as 
possible by means of any available disguise that 
does not conceal the whole person, any grimacing, 
contortion of form, etc. 

Magic Music. 

A beautiful game, which amuses even the mere 
spectator as much as it does the actual players. 
One of the company sits at the piano while another 
leaves the room. The rest of the party then hide 



114 HOW TO AMUSE. 

some article previously agreed upon and recall the 
absent player. At his entrance the pianist begins 
playing some lively air very softly ; keeping up a 
sort of musical commentary upon his search, play- 
ing louder as he approaches the goal, and softer 
when he wanders away from it. In this way he 
is guided to at last discover the object of his 
search. 

Going "To Jerusai^km. 

This is another piano game, but does not require 
so much skill as the former. One person goes ta 
the piano, while the others arrange in a line as 
many chairs, less one, as there are players; the 
chairs alternately facing opposite directions. Then 
as the pianist begins to play, the others commence 
marching around the line of chairs, keeping time 
to the music. When this suddenly ceases, every- 
body tries to sit down, but as there is one less 
chair than players, somebody is left standing and , 
must remain out of the game. Then another chair 
is removed and the march continued, until the 
chairs decrease to one and the players to two. 

Whoever of these succeeds in seating himself 
as the music stops, has won the game. 

Bkan-Bags. 

A game of skill, the equivalent of parlor quoits. 
It is played with bean-bags and a board three feet 
long and two feet wide, elevated at one end by 
another board to an angle of thirty degrees, and 
having some six inches from the top an opening 
about five inches square. Station this board at 
one end of a long room and divide the company 
equally. Bight bean-bags are all that are required. 

The leader of one side begins. Standing at a 
suitable distance from the board, he endeavors to 
throw the bags, one at a time, through the square 
opening. Kvery bag that reaches the goal counts 



BIvIND-MAN'S BUFF. 115 

ten, every one that lodges upon the board five, 
and every one that falls to the ground outside of 
the board a loss of ten. 

Suppose A to have put two bags through the 
opening (twenty), and two upon the board (ten), 
— that is a gain of thirty — but the other four bags 
falling to the ground makes a loss of forty, so his 
real score is a loss of ten. 

B puts four through the opening (forty), three 
upon the board (fifteen), and one upon the ground 
(ten), which gives him a gain of forty-five. 

The sides play alternately, and after three rounds 
for each, the scores, which have been carefully 
kept by one member of the party, are balanced, 
and the side having the greatest gain declared 
winners. 

A prize may be given for the highest individual 
score. 

Throwing ^hk Handkkrchikf. 

A very old and still quite popular game. The 
company being seated around the room in a cir- 
cle, some one stationed in the centre throws an 
unfolded handkerchief to one of the seated play- 
ers. Whoever receives it must instantly throw it 
to some one else, and so on, while the person in 
the centre endeavors to catch the handkerchief in 
its passage from one player to another. If he 
catches it, as it touches somebody, that person 
must take his place in the centre. If it is caught 
in the air the player whose hands it last left enters 
the circle. 

The handkerchief must not be knotted or 
twisted, but thrown loosely. 

Bi.ind-Man's Bui^f. 

A player is led blindfolded into the middle of 
the room, taken by the shoulders, and turned 
around three times, after which he must catch 



k 



Ii6 HOW TO AMUSB. 

somebody to replace him. As he is being turned, 
the others say : 

*' How many horses have you in your father's 
stable?'' 

*' Three; black, white and gray." 

* * Turn about, and turn about, and catch whom 
you may. ' ' 

This game belongs to many countries, and is 
known by many different names. It is *' Blind 
Cow" in Germany; "Blind Goat" in Sweden; 
*' Blind Mouse" in South Germany and Servia; 
"'Blind Hen" in Spain ; ''Blind Fly, " or "Blind 
Cat," in Italy. To the English name, "Blind- 
man's Buff, " correspond the Polish "Blind Old 
Man, ' ' and the Norwegian * ' Blind Thief. ' ' 

A familiar variation makes this a ring-game. 
The blindfolded person stands in the centre, with 
a staff, while the ring circles about him. When 
he strikes the floor three times, the ring must 
pause. The person in whose direction he points 
miust grasp the staff, and utter some sound, dis- 
guising the voice as much as possible. The first 
must then guess the name from the sound. This 
form of the game is called ' ' Peg in the Ring. ' ' 

A QUKE:r CANDI.KSTICK. 

Take a short piece of candle, and into its lower 
end thrust, by way of ballast, a nail. * You should 
choose a nail of such a size that the candle-end 
shall be all but immersed, the water just rising 
to its upper edge, though not so high as to over- 
flow the top and wet the wick. Now, light the 
candle, and you may safely make a wager that, in 
spite of the apparently unfavorable circumstances 
in which it is placed, it will burn completely to 
the end. 

This may, at first sight, appear a rash assertion, 
but after a little reflection, you will see how the 
arrangement works. The candle, of course, grows 



TO WEIGH A IvETTER. 



117 



shorter as it burns, and it seems therefore as if 
the water must overflow the top and reach the 
wick ; but on the other hand, it grows proportion- 
ately lighter, and therefore rides higher in the 
water. 

Further, the external surface of the candle, kept 
cool by the surrounding liquid, melts much more 
slowly than it would in the open air, so that the 
flame hollows out for itself a sort of little well, as 
represented in the right-hand corner of our illus- 
tration. 




This hollowing process further lightens the 
candle, and the wick will, as you have stated, 
burn to the very end. 

To Weigh a Lkttkr with a Broomstick. 

For the purpose of weighing light objects as, 
for instance, a letter, a very delicate balance is 



Ii8 



HOW TO AMUSE. 



required; and as such we recommend to our read- 
ers our new broomstick letter-weighing machine. 
Cut off the end of an ordinary broom-handle, to a 
length of about ten inches, and plunge it into a 
tall glass jar full of water — first, however, weight- 
ing it at bottom in such manner that about seven 
inches of its length shall be under water. Attach 
to the upper end, by means of a tack, an ordinary 




visiting card. This will form the tray or scale of 
the apparatus — and behold your weighing- 
machine, complete. All that remains to be done 
is to graduate it. Place on the scale a one-ounce 
weight, note how far the stick sinks, and mark 
thereon, with a very black pencil, the point where 
it meets the surface of the water. 



BOSTON. 119 

The apparatus being so far graduated, take off 
the weight, and lay on the card, in its stead, the 
letter you desire to weigh. If the pencil mark 
remains above the surface of the water, your letter 
weighs less than an ounce, and two cents will pay 
the postage ; if, on the contrary, the mark sinks 
below the surface, your letter is over-weight, and 
you must pay accordingly. 

The Taii^IvESS Donkey. 

An amusing game at which any size of part|^ 
may play and enjoy it for hours. Cut a large fig- 
ure of a donkey, minus a tail, from dark paper 
or cloth, and pin it upon a sheet stretched tightly 
across a door-way. Bach player is given a piece 
of paper, which would fit the donkey for a tail, 
if applied. On each tail is written the name of 
the person holding it. When all is ready, the 
players are blindfolded in turn — ^placed facing the 
donkey a few steps back in the room— then turned 
around rapidly two or three times and told to 
advance with the tail held at arm's length, and 
with a pin previously inserted in the end, attach 
it to the figure of the donkey wherever they first 
touch it. When the whole curtain is adorned with 
tails — (not to mention all the furniture, family 
portraits, etc., in the vicinity) — and there are no 
more to pin on, the person who has succeeded in 
fastening the appendage the nearest to its natural 
dwelling place, receives a prize, and the player 
who has given the most eccentric position to the 
tail entrusted to his care, receives the *' booby'* 
prize, generally some gift of a nature to cause a 
good-humored laugh. 

Boston. 

This is a variation of ** Blind Man's Buff," 
which is described elsewhere. Seat the company 



I20 HOW TO AMUSE. 

round the room and give each a number. Blind* 
fold one person and station him in the centre of 
the room, twirling him around several times so 
that he may successfully ' ' lose his bearings. ' * He 
must then call any two numbers included in the 
number of players, and the two people represent- 
ing them must at once rise and change places, 
while the *' blind man" endeavors to seize one of 
them. If he succeeds in doing this he must, 
while still b^lindfolded, identify the captive, who 
then in turn enters the circle. 

More than two numbers may be called at once, 
and when the ''blind man" calls out ''Boston!" 
and everybody changes places, he may, by slipping 
into a vacant seat during the confusion, find a 
substitute in the person left standing when all the 
chairs are occupied. 

What is Your Agk ? 

It is always a delicate thing to inquire a lady*s 
age, but the question in this game will offend 
nobody. There must be at least two people in the 
secret, and one of them leaves the room. Some- 
body in the company tells his age to the others, 
and the absent player is recalled. Everybody is 
at liberty to question him, but he only pays atten- 
tion to the one player he knows holds the secret 
of the game, and from the first letters of the words 
introducing the remarks of this person he takes 
his cue— the first ten letters of the alphabet stand- 
ing for the ten figures, i, 2, 3, 4, 5, 6, 7, 8, 9, o. 

A goes from the room and B asks for somebody's 
age. C volunteers, " I am twenty-five. ' ' A being 
then recalled, there is a universal demand from 
the company for the required age, and a great deal 
of doubt expressed as to his ability to guess it. 
During the general confusion, B hastily says: 
**Be sure before you speak," and then again r 



ROOSTKR. 121 

**Knough thinking. Tell ns now. ' * Whereupon, 
A, guided by the first letter, "b, '* of the first 
remark, and the *'e" of the second, which he 
knows represents the digits **two" and *^£.yq^^ 
respectively, quickly says "twenty-five/* 

What, Sir? Me:, Sir? 

One player says to another : 

**Mr. Brown, I saw you on Broadway.'* 

Whereupon Mr. Brown says : 

*'What, sir? Me, sir?'' 

The other replies : 

*^Yes, sir; you, sir. '* 

* * Oh ! no, sir, not I, sir. ' ' 

**Who then, sir?'* 

*'Mr. Smith, sir." 

Mr. Smith immediately replies : 

*'What, sir? Me, sir?"^ 

And so on till each is mentioned in turn. 
Those who miss must pay a forfeit. At the end 
of the game all the forfeits are redeemed. 

Horse:. 

The players are seated around the room. One 
person pretends to whisper to each of the others 
in turn the name of a different animal. After 
naming them all, he must call out the name of 
some one animal, and the person having that 
name must run out at the door. Having given 
the whole company the name of horse, he calls 
horse whereupon they all make a simultaneous 
rush for the door. A narrow door should be 
chosen, if possible. 

Roostkr. 

This is a short game, reaching a quick conclu- 
sion and exciting a hearty laugh. Tell everybody 
in the room that j^ou will give to each in a 



122 HOW TO AMUSE. 

whisper, the name of some animal, whose pecu- 
liar cry they are to imitate in concert at a given 
signal. To all but one person the simple charge 
to *'keep perfectly silent" is given. Upon that 
one is bestowed the name of ''Roostei." Then 
saying, * * All be ready when I say three ! ' * Count 
* * one, two, three, ' * when a lusty crow from the 
victim of the joke, and a laugh from the others, 
tell him that the general amusement has been at 
his expense. 

CONSE^QUKNCKS. 

The players are each provided with a slip of 
paper and a pencil. Bach must write the name of 
some gentleman (who is known to the party), turn 
down the end of the paper on which the name is 
written, and pass the paper to the next neighbor. 
All must then write the name of some lady (also 
known), then change the papers again and write 
* ' where they met, " ' * what he said, ' ' * * what she 
said," *'what the world said," and '*the conse- 
quences, * ' always passing the papers on. When 
all are written, each player must then read his 
paper. 

Mr. Jones 

And Miss Smith 

Met on a roof 

He said, *'I trust you are not afraid. " 

She said, **Not while you are here." 

World said, ' ' It's a match. ' ' 

Consequences, **He sailed for Africa next 
morning,*' etc. 

Mesmerizing. 

This may be made very amusing, although no 
actual mesmerism is attempted. A member of the 
party announces that he has been declared to 
possess a vast amount of mesmeric power ; not 
enough to gain absolute control over a person, but 



TRUTH. 123 

sufficient to at least prevent him from rising from 
a chair alone. His challenge being accepted by- 
some one, he seats his victim in a low chair and 
himself in a higher one close at hand. Then, 
solemnly demanding a complete relaxation of will 
power and a sober countenance on the part of the 
subject, he begins making passes with his hands, 
stroking the forehead of the person beside him, 
and otherwise imitating a genuine mesmerist. 
After a short time he quietly &ays : 
''Now see if you can get up alone!" 
Of course, the subject rises to his feet at once, 
but so does the mesmerist, thus proving to the 
former that having risen simultaneously witk 
himself, he has surely failed to rise alone. 

Guessing Byks and Nosks. 

A sheet is fastened up between two doors. Holes 
are cut in it, and some of the party go behind the 
sheet and stand with their eyes at the holes, while 
the others must guess to whom the eyes belong. 
Failing to guess correctly they must give, a forfeit. 

Bkast, Bird or Fish. 

The players sit round in a circle, and one play- 
er, who is ' * it, ' ' points to some one, and says 
either '^ beast,'' ''bird," or "fish." He then 
counts ten as quickly as possible. The person 
pointed to must name some "beast," "bird," or 
"fish" (whichever he was asked) before ten is 
reached. If he fails, he must give a forfeit. 

Truth. 

The players pile up their hands, choose a num- 
ber, and draw out in turn, and the person who 
draws his or her hand from the pile at the num^ 
ber selected has to answer truly any questions put 
by the rest. 



124 HOW TO AMUSB. 

NKKdIvKS and PinsMadk i^o Fi,oaT. 

Take an ordinary pin, thoronglily dry. This is 
an object which water can moisten, but less easily 
than glass. If, by some means or other, you can 
manage to lay it on the water without wetting it, 
you will see the water take a convex shape on 




either side of the pin, and this latter, displacing 
a proportionate body of water, will float on the 
surface, just as a lucifer match would do. The 
same experiment may be performed with a needle, 
and it must not be supposed that a very fine 
needle or pin alone is suitable. 




Shadows -^n the wall. 



(125) 



126 HOW TO AMUSE. 

Hit or Miss. 

Great amusement is excited by this game when 
played in the presence of a company of guests. 
Spread a sheet upon the floor and place two chairs 
upf>n it. Seat two of the party in the chairs 
within reach of each other and blindfold them. 
Give each a saucer of cracker or bread crumbs and 
a spoon, then request them to feed each other. 
The frantic efforts of each victim to reach his fel- 
low sufferer's mouth is truly absurd— the crumbs 
finding lodgment in the hair, ears and neck much 
oftener than the mouth. Sometimes bibs are 
fastened around the necks of the victims for pro- 
tection. 

Going Shopping. 

A lively game of ''talk and touch.'' The com- 
pany is seated in a circle, and one who understands 
the game commences by saying to his neighbor at 
the right : 

*'I have been shopping.'* 

*'What did you buy?'' is the required response. 

"A dress," ''a book," ''some flowers," ''a 
pencil" — whatever the first speaker wishes, pro- 
vided always that he can, in pronouncing the 
word, touch the object mentioned. Then the 
second player addresses his neighbor in similar 
manner, and so on around the circle until the 
secret of the game is discovered by all. 

Whoever mentions an object without touching 
it, or names one that has already been given, 
pays a forfeit. 

The Three Matches. 

With your penknife slit one end of a match, 
and trim that of another into a wedge shape. In- 
sert this latter into the split end of the former, so 
that the two shall form an acute angle. Place 



THE THREE MATCHES, 127 

them on the table, the angle upward, and prop 
them up by leaning another match against them, 
the whole forming a tripod, as shown in the fig- 
ure. Now hand a fourth match to one of the com- 
pany, and request him to lift with it the other 
three from the table. Such is the problem to be 
resolved. All that you have to do is to insert the 
fourth match just inside the point of the tripod^ 
between the two conjoined and the single match ; 
and with it to press the two joined matches lightly 




outward till the third falls with its upper end on 
the one you hold. You lower this till the end of 
the single match passes within the angle formed 
by the juncture of the two first. If you then raise 
the match you hold in your hand, the three others 
will ride astride upon it, the single match on the 
one side, the two joined matches on the other. The 
table used should have a cloth on it, that the lower 
ends of the matches may not slip. Some little 



128 



HOW TO AMUSE). 



•delicacy of handling is needful to make the single 
match fall just in the right position, but this once 
achieved, the three thus slightly supported might 
be carried a mile without any fear of dropping 
them. 

To Spin a Ce;nt Upon a N^kdi^k Point. 

Bend a hair-pin as shown in our illustration. 
Place a cent horizontally on the right-hand hook, 
which should be narrow enough to clip it closely, 
and hang upon the left-hand hook a tolerably 




heavy finger-ring (or two, if one is found insuffi- 
cient). Place the free edge of the coin on some 
upright point (that of a lady's bonnet-pin, for 
example), and you will find that the combination 
can be made to balance itself. Furthermore, by 
gently blowing upon the ring, you can set the 



SPIN TH:^ PLATE. 129 

apparatus revolving rapidly, without any disturb- 
ance to its equilibrium. 

If you spin the cent upon a very sharp steel 
needle, you will find that the needle will at length 
work its way completely through the coin. You 
may therefore, if you please, propound your puz- 
zle in this rather striking form — How to bore a 
hole through a cent by merely blowing upon it. 

Counting Appi^k-s^Kds. 

This rhyme, formerly used in England, remains 
unchanged, except the omission of the last three 
lines. Apples were an essential part of every en- 
tertainment in the country. The apple, having 
been properly named for a person, with a pressure 
of the finger, was divided, to decide the fate of 
the person concerned according to its number of 
seeds. 

One, I love, 

Two, I love. 

Three, I love, I say. 

Four, I love with all my heart, 

And ^ve, I cast away ; 

Six, he loves, 

Seven, she loves. 

Eight, they both love; 

Nine, he comes, 

Ten, he tarries. 

Eleven, he courts. 

Twelve, he marries; 

Thirteen, wishes. 

Fourteen, kisses. 

All the rest little witches. 

Spin thej Pi,atk. 

A tin pie-plate is set spinning in the middle of 
the floor ; someone is called from the party, who 
must catch the plate before it stops, or pay a for- 
feit. 



I30 HOW TO AMUSE. 

IvlGHTiNG THK CaNDI,]^. 

This feat is a very amusing one and is performed 
as follows : Two persons kneel on the ground, fac- 
ing each other. Kach holds in his left hand a 
candle in a candlestick, at the same time grasping 
his right foot in his right hand. This position 
compels him to balance himself on his left knee. 
One of the candles is lighted ; the other is not. 
The holders are required to light the unlighted 
candle from the lighted one. The conditions are 
simple enough, but one would hardly believe how 
often the performers will roll over on the floor 
before they succeed in lighting the candle. It 
will be found desirable to spread a newspaper on 
the floor between the combatants. Many spots of 
candle-grease will thus be intercepted, and the 
peace of mind of the lady of the house proportion- 
ately spared. 



A Probi^em in Gymnastics. 

Place a low stool on the floor, close against the 
wall, and yourself facing the wall, with your feet 
distant from it just double the width of the stool. 
Stoop down and grasp the stool with one hand on 
either side, and rest your head against the wall. 
Now lift the stool from the floor, and slowly raise 
yourself to the erect position — or rather, endeavor 
to do so. It is better to try the experiment for 
the first time on a well-carpeted floor. On 
polished oak or parqueterie you would probably 
have a bad fall. We have here a curious effect of 
the displacement of the centre of gravity of the 
body, which renders it almost impossible to stand 
upright without first replacing the stool on the 
ground, and resting the hand upon it to get the 
needful support. 



THE GAME OF ClyUMPS. 131 

Redeeming Foreeits. 

The girl who is to name the penalty by which 
the forfeit must be redeemed lays her face on the 
lap of another who sits on a chair, while a third, 
standing behind, holds the article over her head 
and asks : 

^^Here is a forfeit, a very fine forfeit; what 
shall be done to redeem it?" 

**Is it fine or superfine?" (i. e. , does it belong 
to a gentleman or to a lady. ) 

The sentence is then declared. 

Another formula, used in the Middle and 
Southern States, is : * ' Heavy, heavy, what hangs 
over you?" 

The German usage is nearly the same, the ques- 
tion being: *' Judge, what is your sentence, what 
shall he do whose pledge I have in my hand?" 
Any proper penalty may be named. 

The Game oe I^ocation. 

Sides are chosen and the opposing parties stand 
in separate lines as for a spelling match. No. i 
of one side mentions the name of some city or 
town in any part of the globe, and No. i of the 
other side must locate it before his opponent has 
finished counting ten or twenty, as may be agreed. 
He then, in turn, names a city which No. 2 on the 
other side must locate. If anyone fails to give the 
correct location before the ^expiration of the ten 
counts, a member from the side he represents is 
chosen by the other. 

The Game oe Ci^umps. 

Sides are chosen, and a representative from each 
side goes from the room. After choosing the ob- 
ject to be guessed, they return, each going to his 
opponent* s side, where he is asked questions to be 



132 HOW TO AMUSE. 

answered by ** yes ' * or *'no,'* concerning the ob- 
ject selected. The side which first guesses cor= 
rectly has the privilege of choosing a member from 
the opposing side. Then the successful guesser of 
one party and the player who has been most nearly 
successful on the other go from the room and 
choose a new subject. The two parties must be 
separated by some distance and the questioning 
carried on in a low voice, so that nothing said by 
one side can be heard by the other. An illustra- 
tion : 

For instance, the object chosen is the thumb on 
the right hand of the Washington Monument. 

Question. *' Does it belong to the animal king- 
dom ^ '' 

Answer. *'No." 

Q. *' To the mineral kingdom ? *' 

A. '^Yes." 

Q. ** Is it in existence now ? *' 

A. **Yes.»' 

Q. *^ Is it in this country ? '^ 

A. *'Yes,'' and so on until a successful termi- 
nation of the guessing is reached. 

Ant and Cricke:t. 

One of the company being appointed to repre- 
sent the Cricket, seats himself in the midst of the 
other players, who are the Ants, and writes upon 
a piece of paper the name of a certain grain, what- 
ever kind he pleases. He then addresses the first 
Ant : ** My dear neighbor, I am very hungry, and 
have come to you for aid. What wnll you give 
me ? " * * ^ grain of rice, a kernel of corn , a worm, ' * 
etc., replies the Ant, as he sees fit. The Cricket 
asks each in turn, and if one of them announces as 
his gift the word already written upon the paper, 
the Cricket declares himself satisfied and changes 
places with the Ant. 



GUESSING CHARACTERS. 133 

If the desired word is not spoken, however, the 
sarae cricket keeps his place, scorning each article 
of food as it is suggested to him. In either case 
the form of the question changes, and the suppli- 
cant says: **My hunger is appeased and now I 
wish to dance. What dance do you advise ? '* He 
therefore writes the name of a dance upon his 
paper and the Ants advise in turn — ^^ A polka, a 
fandango, a ininuety^^ etc. The third Cricket de- 
clares himself unable to dance without music, and 
requests that a suitable instrument be recom- 
mended. ^' A lyrCy a kazoo ^ a mandolin ^^'' etc., say 
the Ants. 

The fourth Cricket, tired of dancing, wishes to- 
rest, and asks upon what he shall take his repose. 
''^ A rose-leaf, the moss, the heart of a lily,'''* are all 
suggested, but unless the name he has previously 
written upon his paper is mentioned, he expresses- 
himself dissatisfied. 

The fifth and last Cricket confesses fear lest 
while sleeping he shall be,devoured by a bird, but 
requests advice concerning the choice of a de- 
stroyer. '^ A lark, a turtle-dove, a pigeon^'^ are 
thereupon mentioned by the Ants. 

By carefully selecting the most uncommon 
names for replies, the same Cricket may be kept 
through the entire set of questions. If the word 
written upon his paper, however, is mentioned in 
any case, he must show it to the unfortunate Ant^ 
to whom he surrenders his place. 

Guessing Charactj^rs. 

One of the party leaves the room while 
the others decide upon some character, real or 
fictitious. The absentee is then recalled, and each 
in turn asks him a question referring to the char- 
acter he has been elected to represent. When he 
guesses his identity the player whose question has 



134 HOW TO AMUSE. 

thrown the most light upon the subject has to go 
from the room. 

For example : A goes from the room and the 
company decides that he shall represent King 
Henry VIII. When he enters, No. i asks : 
** Which one of your wives did you love best?'* 
No. 2 says : *' Do you approve of a man's marry- 
ing his deceased brother's wife?*' No. 3 adds: 
** Where you very sorry your brother died ? '* etc., 
while A, after guessing various names, is led by 
some question to guess correctly, and the fortunate 
questioner is consequently sent from the room to 
have a new character assigned him in turn. 

Thk Magic Candi^e^ Extinguishe;r. 

Cut out of thin cardboard a couple of little fig- 
ures, and insert in the mouth of each, fixing it, 
say, with sealing-wax, a piece of quill (a portion of 
a toothpick, for instance), through which he or she 
appears to be blowing. Fill each tube with sand, 
but leave a minute space empty at the end remote 
from the figure. In the cavity of the one place a 
few grains of gunpowder, and in the other a tiny 
morsel of phosphorus. The figures being thus 
privately prepared beforehand, you call for a 
lighted candle, and announce that the one figure 
will blow it out and the other relight it. 

The moment the tube with the powder is brought 
near the candle, the powder will ignite, and will 
produce an explosion of infinitesimal proportions, 
but large enough to blow out the candle and cause 
a jet of smoke in the direction of the second figure, 
which you hold in the opposite hand. The heat of 
the smoke will cause the phosphorus to ignite, and 
if you hold the tube which contains it pretty close 
to the wick, the candle will again be lighted. 

This is an experiment which should not be at- 
tempted by unskilled hands. Both gunpowder and 



A PARLOR ZOBTROPK. 135 

phosphorus require to be handled with great care, 
but it might be possible to raake, out of thin paper, 
little cartridges containing a minute portion of 
each substance, to be introduced into the tubes as 
occasion required. Unless the reader has some 
practical knowledge of laboratory work, he should 
not attempt this experiment. 

The: Broken Mirror. 

The painters have given the last finishing touches 
to the room they have been redecorating, but be- 
fore leaving they cannot resist the temptation of & 
joke on whoever is sent to see that all is in order. 
Imagine the horror of the servant-girl when she 
sees a great crack, perhaps half a dozen, right 
across the big drawing-room mirror. Meanwhile, 
behind her back the workmen are smiling over her 
discomfiture. After having vsufficiently chuckled 
over the success of their innocent joke they offer 
to repair the damage, and, not to keep their victim 
longer in suspense, one of them takes a wet cloth 
and passes it over the supposed crack in the glass. 
Lo, a miracle ! The cracks disappear under the 
mere touch of the damp duster, and the glass is 
whole again. She can hardly believe her own 
eyes. And yet there is no witchcraft about the 
matter. If you are inclined to play a similar trick, 
you have only to trace, with a small piece of soap, 
on the mirror which is to appear broken, a few fine 
lines in imitation of cracks. Their reflection in 
the glass will give them depth, and make them 
seem as though they extended through the thick- 
ness of the glass, while a rub with a wet flannel 
will make all right again. 

A Pari^or Zoktrope). 

We have here the game of the ** little horses,'* 
so popular at Continental watering-places, brought 



136 HOW TO AMUSE. 

in a simplified and innocent form within reach of 
everybody. Glue round the inside of the rim of a 
circular dish of white porcelain, a number of little 
cardboard figures of animals ; or simply sketch 
thereon, with ink, similar figures or numerals, 
equidistant from one another. Place the dish thus 
furnished, in an ordinary dish of somewhat larger 
size, and having its centre slightly elevated— a not 
uncommon pattern. You will only have to give a 
slight impulse with the hand to the smaller plate 
to set it spinning within the other. Should the 
larger dish not be raised in the centre, you have 
only to pour into it a little water, enough to make 
the inner dish just float, and it will then revolve 
with great freedom, the water practically destroy- 
ing all friction. 

You can repeat the same figure, but with, say, 
the arms in different positions, so that, when the 
plate is set spinning, you may have depicted, in 
due order, the successive positions of a man raising 
and lowering his arms. Thus, for example, if the 
first figure has his arms hanging down close by his 
sides, the next will have them a little further from 
the body ; the third will have them extended hori- 
zontally ; the next following a little higher ; and, 
finally, the last will have them raised above his 
head. Now peep, with one eye only, through a 
little hole made with a pin in a visiting-card or 
playing-card, and gaze at any given point of the 
circle described by the figures. When the dish is 
set in motion, you apparently see one figure only, 
but such figure seems to move like a living being, 
its arms appearing to take in succession the various 
positions which are really those of the separate 
figures. You may amuse yourself by thus arrang- 
ing several series of such figures, their positions 
varied in proper succession, thus reproducing, at 
merely nominal expense, the scientific toy known 
as the Zoetrope or Praxinoscope. 



SHADOWS ON THE WALL. i37 

A WoNDERFui. Pin. 

Take a piece of cord elastic, and through it thrust 
a pin bent by twisting the ends of the elastic, held 
vertically between the thumb and finger of each 
hand and then drawing the hands apart, so as to 
stretch the cord, you can communicate to this lat- 
ter a movement so rapid that the revolutions of 
the pin shall produce the shape of a glass cup. 
The illusion will be the more complete n the 
pin is itself brilliantly illuminated, while hav- 
ing a dark background behind it, the operator 
should be in a darkened room, and a single ray of 
sunlight from without, should fall through a hole 
in the shutters, upon the pin. With a little skill m 
manipulation one can produce, using pms bent m 
different ways, the semblance of the most diverse 
objects- say, a cheese-dish, and aquarium, a bou- 
quet-holder, or a goblet. . ^ ^ r 
Should the form of the pin tend, by reason of 
centrifugal force, to make it assume a horizontal 
position, this can be cured by securing one end of 
It by means of fine white silk, to the elastic. This 
will usually be invisible when the pin is made t@ 
revolve as above described, and, in any case, will 
not affect the appearance of the figure. 

Shadows on the Wai.1:,. 

The exhibitor, as well as the cardboard figures, is 
placed behind the spectators, a position which ha^ 
many advantages. Place on the table a lighted 
candle, and in front of it, at two or three feet dis- 
tance, attach to the wall a sheet of white paper t© 
form your *' screen.'' Between the light and the 
screen interpose some opaque body, for example, 
an atlas or other large book. . ^ ^i. 

But under such conditions how are we to cast tne 
shadows on the screen? Simply by the use of a 



138 HOW TO AMUSE. 

mirror, placed at the side of the table. The reflec- 
tion of the mirror will appear on the wall as a 
luminous space, oval or oblong as the case may be, 
and if you have placed it at the proper angle with 
reference to the screen, and move your cardboard 
shapes about cleverly between the candle and the 
mirror, you will forthwith see little fantastic figures 
projected in shadow on the screen, while the unini- 
tiated spectator is wholly at a loss to discover how 
you produce them. 

The Rotation of the; GIvObk. 

When you next chance to eat an egg for break- 
fast, do not fail to try the following experiment. 
It is one which always succeeds, and is productive 
of much amusement to the company. 

Moisten slightly with water the rim of your plate, 
and in the centre paint with the yolk of the egg a 
sun with golden rays. By the aid of this simple 
apparatus you will be in a position to illustrate, so 
clearly that a child can comprehend it, the double 
movement of the earth, which revolves simulta- 
neously round the sun and on its own axis. 

All that you have to do is to place the empty 
half-shell of your egg on the rim of the plate, and 
keeping this latter duly sloped, by a slight move- 
ment of the wrist as may be needful, you will see 
the egg-shell begin to revolve rapidly on its own 
axis, at the same time traveling round the plate. 
It is hardly necessary to remark that the egg-shell 
will not travel uphill, and the plate must therefore 
^e gradually shifted round, as well as sloped, so 
that the shell may always have an inch or two of 
descending plane before it. 

The slight cohesion caused by the water which 
moistens the plate counteracts the centrifugal force, 
and so prevents the egg-shell falling ofif the edge of 
the plate. 



HANGING WITHOUT A CORD. 139 

Through Th^ Watkr Dry. 
Into a basin full of water, throw a coin or rit.cr 

suScl'ffThi^r^"-/ ","^^ °f *^'« P«^<i«r on the 

whTh^h ^^'■"!f °^^^ y«« baVl aViSS^^^^^ 
which the hquid cannot adhere any more than i^^^ 
to the plumage of the ducks, which we see Slun-^ 
and plunge again, and still come Vdry a? eve? 

Those who may care to carry the exnerim^^f 
femSrat'rJatV'lT^'? '^^^ watlr. iLSng'the 
thatSj^Lly^wYhS^^^^^^^^^ 
to lift an article ouTof a kettle of «n H^K^'-r"'' 
water. The sensation of heS notlsXed'S 
noTaTd."" "J-^tothetissues-in oS^^^ordsJ 

Hanging Withou:^ a Cord 



J40 HOW TO AMUSE 



use this thread ^o -/P-^^ firtfo ^Shrlad! 

'"t^^ m burn ?rom e'^d tfend but the spectators 
which will burn irom ena L , ^^^ ^^^^ 

will be s^'-P^f ,d t° fjf^*^3^^STn| from the com- 
K^^H^orCrealS tie fibrous p^articles of the 
ELThave beef destroyed, but there reruams a 

S-^TtLnSirsulp^Ttt- S^of the 
""#his experiment -y be varied in tWs ma n,r • 

fgrwXemSSpenaTo^he^stonishment of 

all who behold it. 

The Magic Scorpion. 
Place on the surface of the water in a glass or 
bSa%umber of small piec^^^^^^^^ 
ous sizes, together representing the ™ ^^^ 

animal, say a scorpion, ^fter a mtie^ 
scorpion will begm to stum the w ^^^..^y 

r^U^ln^^uS^Hsgcon^^^^^^^^^^ 

found in every household but m spite o 

plicity we may deduce from it, as you 
severiUnteresting observations 

I. Our scorpion floats on the ^ater, d 
almost entirely below the surface. This proves 



AMUSING THH CHILDRBN. 141 

US that the specific gravity of camphor is nearly, 
but not quite, equal to that of water. 

2. The animal does not dissolve. Camphor is 
therefore insoluble in water. 

3. The different fragments of which our scorpion 
consists do not separate, but remain one against 
the other as we originally placed them. This is 
because they are held together by the force known 
as cohesion. 

4. Lastly, the eccentric movements we nave 
mentioned depend on a well-ascertained but 
mysterious property of camphor, viz., that when 
placed on the surface of the water, it moves spon- 
taneously. It is a well-known fact that a morsel 
of camphor placed in a glass of water will, after a 
few moments, begin to move either with a sidelong 
or rotary movement ; such movement bemg due, 
according to some authorities, to the recoil pro- 
duced by an escape of liberated gases ; according 
to others, to a mysterious force inherent in the 
surface of liquids, and known as superficial tension. 

Amusing thk Chii^drkn. 

A clever way to amuse a party of children is to 
invite them to a peanut party. Tiny cards of in- 
vitation are sent out, on each of which two half 
peanut shells are fastened. A large quantity of the 
nuts are hidden about the house, and when the 
young folks arrive they are told to hunt them. 
They who find the most and least of them receive 

^"Another is a soap bubble party. The invitations 
for this should have a pen and ink sketch of a pipe 
and bubble. Provide plenty of clay pipes, with the 
name of a guest written on each, and make the 
soapsuds with the addition of glycerine to make 
the bubbles strong and tough. For the prizes for 
the most successful bubble blower, a fancy pipe is 



142 HOW TO AMUSE. 

suitable. It can be made by gilding the handle and 
©utside of the bowl of a clay pipe and painting the 
inside of the bowl in water colors. A bow of baby 
ribbon to match the paint improves it. For the 
booby prize a little pipe can be made from a match 
and half an acorn shell. 

A penny party furnishes amusement for an even- 
ing. With the invitations is sent a request for each 
guest to bring a penny, not for an admission fee, 
but for use. For each guest there are provided two 
cards and a pencil ; one card is blank ; the other 
has a list of the things to be found on a penny. 
The list is numbered, and each person is expected 
to name as many as he can, prizes being awarded 
for the best and poorest list. Find — i. Top of hill. 
2. Place of worship. 3. An animal. 4. A fruit. 
5. A common fruit. 6. Links between absent 
friends. 7. Union of youth and old age. 8. A 
vegetable. 9. Flowers. 10. What we fight for. 
II. A metal. 12. A messenger. 13. A weapon of 
defence. 14. A weapon of warfare. 15. A body of 
water. 16. A beverage. 17. What young ladies 
want. 18. The most popular State. 19. What men 
work for. 20. Sign of royalty. 21. A jolly dog. 
The answers are — i. Brow. 2. Temple. 3. Hare 
(hair). 4. Date. 5. Apple. 6. Letters. 7. 1894 
(the date of the penny). 8. Ear. 9. Tulips (two lips). 
10. Liberty. 11. Copper. 12. One sent (cent). 13. 
Shield. 14. Arrow. 15. Sea (c). 16. Tea (t). 17. 
Beau (bow). 18. United States (matrimony). 19. 
Money. 20. Crown. 21. A merr^'^ cur (America). 
Usually a half hour is allowed for filling out the 
blank cards, and after that some time for correct- 
ing the lists and awarding prizes. 

It is often hard to find games for evening amuse- 
ments that will amuse all. Some are so noisy that 
the sensitive cannot enjoy them, but the following 
will instruct as well as amuse : One is to transpose 
the misplaced letters of words, usually the name 



GAMES OF ARITHMETIC. 143 

of a city. To prepare for the game make a large 
quantity of small cards from pasteboards, about an 
inch and a half square. Paste a large letter on 
each one, cut from a newspaper or advertisement, 
having several for each letter of the alphabet. 
Give to each the letters necessary to spell a word 
and let him stud}' it out. Thus the letters i 1 i s y 
a n t p can be made to spell Ypsilanti, or s t o o n b 
Boston. 

Another game which is quite entertaining is 
called a pronunciation match. Any number can 
play. One is elected as leader. At first he will call 
out a letter, as a, and each person must think 
quickly while he counts five, and be ready to tell 
the name of a city in the State agreed upon before 
the contest begins. For instance, the leader, while 
he counts five, points to one of the company who 
must give the name of a city beginning with the 
letter A, B or C, as the leader may announce. 
When one answer has been given, he quickly 
counts again, and points to another person until 
some one fails to respond, when he is declared 
leader and also pays a forfeit. It is very amusing 
and teaches people to think quickly and keep their 
wits about them. 

GAMES OF ARITHMETIC. 

HOW TO TE)!,!, ANY NUMBER THOUGHT OF*. 

Ask any person to think of a number, say a cer- 
tain number of dollars ; tell him to borrow that 
sum of some one in the company, and add the 
number borrowed to the amount thought of. It 
will here be proper to name the person who lends 
him the money, and to beg the one who makes 
the calculation to do it with great care, as he may 
readily fall into an error, especially the first time. 
Then say to the person : '* I do not lend you, but 



144 H*^'^' ^^ AMUSB. 

give YOU $io ! add them to the former sum." Con- 
tinue in this manner : " Give the half to the poor, 
and retain in your memory the other half. Then 
add • " Return to the gentleman, or lady, what you 
borrowed, and remember that the sum lent you 
was exactly equal to the number thought of." Ask 
the person if he knows exactly what remains ; he 
will answer "Yes." You must then sa); : And I 
know also the number that remains ; it is equal to 
what I am going to conceal in my hand. Put 
into one of your bands 5 pieces of money, and de- 
sire the person to tell how many you have got. 
He will answer 5 ; upon which open your hand 
and show him the 5 pieces. You may then say : 
" I well knew that your result was 5 ; but it you 
had thought of a very large number, for example, 
two or three millions, the result would have been 
much greater, but my hand would not have held a 
number of pieces equal to the remamder. The 
person then supposing that the result of the calcu- 
lation must be dififerent, according to the differ- 
ence of the number thought of, will imagine that 
it is necessary to know the last number in order to 
guess the result; but this idea is false, for, in the 
case which we have here supposed, whatever be 
the number thought of, the remainder must always 
be s The reason of this is as follows : The sum, 
the half of which is given to the poor, is nothing 
else than twice the number thought of, plus Jo, 
and when the poor have received their part. there 
remains only the number thought of, plus 5 .but 
the number thought of is cut off when the sum 
borrowed is returned, and, consequently, there re- 
main only 5. The result may be easily known, 
^nce it wUl be the half of the number given in the 
third part of the operation ; for example, whatever 
be the^number thought of, the remainder will be 
*6 or 2S according as 72 or 50 have been given, u 
.tiiis trick be performed several times successively, 



GAMES OF ARITHMETIC. 145 

tlie number given in the third part of the operation 
must be always dififerent ; for if the result were 
several times the same, the deception might be dis- 
covered. When the five first parts of the calculation 
for obtaining a result are finished, it will be best 
not to name it at first, but to continue the opera- 
tion, to render it more complex, by saying, for ex- 
ample : "Double the remainder, deduct two, add 
three, take the fourth part," etc.; and the different 
steps of the calculation may be kept in mind, in 
order to know how much the first result has been 
increased or diminished. This irregular process 
never fails to confound those who attempt to 
follow it. 

ANOTHER WAY. 

Tell the person to take i from the number 
thought of, and then double the remainder ; desire 
him to take i from this double, and to add to it the 
number thought of ; in the last place, ask him the 
number arising from this addition, and, if you add 
3 to it, the third of the sum will be the ntmiber 
thought of. The application of this rule is so easy 
that it is needless to illustrate it by an example. 

A THIRD WAY. 

Ask the person to add i to the triple of the num- 
ber thought of, and to multiply the sum by three ; 
then bid him add to this product the number 
thought of, and the result will be a sum from 
-which if 3 be subtracted, the remainder will be ten 
times of the number required ; and if the cipher on 
the right be cut off from the remainder, the other 
figure will indicate the number sought. 

Example— Let the number thought of be 6, the 
triple of which is 18 ; and if i be added, it mrkes 
19 ; the triple of this last number is 57, and if 6 be 
added it makes 63, from which if 3 be subtracted, 



146 HOW TO AMUSK. 

the remainder will be 60 ; now, if the cipher on the 
right be cut oflF, the remaining figure, 6, will be 
the number required. 



A FOURTH WAY. 

Tell the person to multiply the number thought 
of by itself ; then desire him to add i to the num- 
ber thought of, and to multiply it also by itself; in , 
the last place, ask him to tell the difference of 
these two products, which wnll certainly be an odd 
number, and the least half of it will be the number 
required. 

Let the number thought of, for example, be 10 ; 
which, multiplied by itself, gives 100 ; in the next 
place, 10 increased by i is 11, which, multiplied by 
itself, makes 121 ; and the difference of these two 
squares is 21, the least half of which, being 10, is 
the number thought of. 

This operation might be varied by desiring the 
person to multiply the second number by itself, 
after it has been diminished by i. In this case, the 
number thought of will be equal to the greater 
half of the difference of the two squares. 

Thus, in the preceding example, the square of 
the number thought of is 100, and that of the same 
number, less i, is 81 ; the difference of these is 19, 
the greater half of which, or 10, is the number 
thought of. 

How TO T:^i.i. Numbers Thought of. 

If one or more numbers thought of be greater 
than 9, we must distinguish two cases ; that in 
which the number of the numbers thought of is 
odd, and that in which it is even. In the first case, 
ask the sum of the first and second ; of the second 
and third ; the third and fourth ; and so on to th^ 



GAMKS OF ARITHMETIC. 147 

last ; and then the sum of the first and the last. 
Having written down all these sums in order, add 
together all those, the places of which are odd, as 
the first, the third, the fifth, etc. ; make another 
sum of all those, the places of which are even, as 
the second, the fourth, the sixth, etc.; subtract 
this sum from the former, and the remainder will 
be the double of the first number. I^et us suppose, 
for example, that the five following numbers are 
thought of, 3, 7, 13, 17, 20, which when added two 
and two as above, give 10, 20, 30, 37, 23: the sum 
of the first, third, and fifth is 63, and that of the 
second and fourth is 57 ; if 57 be subtracted from 
63, the remainder, 6, will be the double of the first 
number, 3. Now, if 3 be taken from 10, the first 
of the sums, the remainder, 7, will be the second 
number ; and by proceeding in this manner, we 
may find all the rest. 

In the second case, that is to say, if the number 
of the numbers thought of be even, you must ask 
and write down, as above, the sum of the first and 
the second; that of the second and third; and so on, 
as before ; but instead of the sum of the first and 
the last, you must take that of the second and last ; 
then add together those which stand in the even 
places, and form them into a new sum apart ; add 
also those in the odd places, the first excepted, and 
subtract this sum from the former, the remainder 
will be the double of the second number ; and if 
the second number, thus found, be subtracted from 
the sum of the first and second, you will have the 
first number ; if it be taken from that of the second 
and third, it will give the third ; and so of the rest. 
Ivet the numbers thought of be, for example, 3, 7, 
13* 17: the sums formed as above are 10, 20, 30, 24 ; 
the sum of the second and fourth is 44, from which 
if 30, the third, be subtracted, the remainder will 
be 14, the double of 7, the second number. The 
first, therefore, is 3, third 13, and the fourth 17. 



148 HOW TO AMUSE). 

When each of the numbers thought of does not 
exceed 9, they may be easily found in the following 

manner : -, ^ 1 j ui r 

Having made the person add i to the double ot 
the first number thought of, desire him to multiply 
the whole by 5, and to add to the product the 
second number. If there be a third, make him 
double this first sum, and add i to it, after which, 
desire him to multiply the new sum by 5, and to 
add to it the third number. If there be a fourth, 
proceed in the same manner, desiring him to double 
the preceding sum; to add to it i ; to multiply 
by 5 ; to add the fourth number; and so on. ^ 

Then, ask the number arising from the addition 
of the last number thought of, and if there were 
two numbers, subtract 5 from it ; if there were 
three, 55 ; if there were four, 555 ; and so on ; for 
the remainder will be composed of figures, of which 
the first on the left will be the first number thought 
of, the next the second, and so on. 

Suppose the number thought of to be 3, 4» o ; by 
adding i to 6, the double of the first, we shall have 
7 which, being multiplied by 5, will give 35 ; if 4, 
the second number thought of, be then added we 
shall have 39, which doubled, gives 78 ; and, if we 
add I, and muUiply 79, the sum, by 5, the result 
will be 395. In the last place, if we add 0, the 
number thought of, the sum will be 401 ; and if 55 
be deducted from it, we shall have, for remamder, 
346, the figures of which, 3, 4, 6, indicate in order 
Hie three numbers thought of. 

G01.D AND S11.VER GamK. 

One of the party having in one hand a piece of 
Kold, and in the other a piece of silver, you may 
tell in which hand he has the gold, and in which 
the silver, by the following method : Some value, 
represented by an even number, such as 8, must 



THE NUMBER BAG. 149 

be assigned to the gold, and a value represented 
by an o^dd number, such as 3, must be assigned to 
the silver ; after which, desire the person to multi- 
lly tbi number in the right hand by any even 
dumber whatever, such as 2 ; and that m the Mt 
b? an odd number, as 3 ; then bid him add together 
{he two products, and if the whole sum be odd, 
the gold will be in the right hand, and the silver 
in the left; if the sum be even, the contrary will 

%*5Vonceal the trick better, it will be^sufficient 
to ask whether the sum of the two products ca« 
be halved without a remainder; for in that case 
the total will be even, and in the contrary case 

*"^U may be readily seen, that the pieces, instead 
of bein<- in the two hands of the same person, may 
be supposed to be in the hands of two.persons one 
of whom has the even number, or i)iece of gold 
and the other the odd number, or piece of silver 
The same operations may then be performed n 
regard to these two persons, as are performed in 
relard to the two hands of the same person calling 
thi one privately the right and the other the left. 

The Number Bag. 

The plan is to let a person select several numbers 
out of a bag, and to tell him the number which shall 
exactly di^de the sum of those he has chosen: 
p"3e a small bag, divided into two parts, into 
one of which put several tickets, numbered 6, 9^ 
Tc ,6 6^ 120. 213, 309, etc.; and m the other part 
St as many other tickets marked No. 3 only. 
Ww a bandi-ul of tickets from the firs part and 
after showing them to the company, put them into 
the bag agaiS, and, having opened it a second time 
desirelny one to take out as many tickets as he 
IhiX proper; when he has done that, you opea 



ISO HOW TO AMUSE. 

privately the other part of the bag, and tell him to 
take out of it one ticket only. You may safefy^ro^ 
Bounce that the ticket shall contain the number by 
which the amount of the other numbers is divisible • 
for as each of these numbers can be multiplied by 
t^v,if ^u"^ total must, evidently, be divisible by 
that number. An ingenious mind may easily diver- 

n«ft !.f f\!T"'^Vu^ ""^'^'"S *^^ tickets ^in one 
part of the bag, with any numbers that are divisible 
by 9 only, the properties of both 9 and 3 being the 
same ; and it should never be exhibited to the 
same company twice without being varied. 

The Mysticai, Number Nine, 

n7^u <^'^*=°^ery of remarkable properties of the 
number 9 was accidentally made, more than forty 
known °''^' ^^'^"S^' "^^ believe, it is not generally 
The component figures of the product made by 
nl^^^'^^A^f?"^ of every digit into the number 
9, when added together, make nine. 

oftl !,f '■'^^^i'^^^^P component figures is reversed, 
alter the said number has been multiplied by ■; 

The component figures of the amount of the 
multipliers {viz. 45), when added together, make 

The amount of the several products, or multiples 
of 9 {vtz. 405), when divided by 9, gives, for a 
quotient, 45 ; that is, 4+5=nine. 
.AAA ,^'?o"°t of the first product (viz. 9), when 
added to the other product, whose respective com- 

of mN ^"""^^ ^ ^' '^ ^^ ' '^^'''^ '® ^^^ ^l"^*^® 
The said number 81, when added to the above- 
mentioned amount of the several products, or 
multiples of 9 f^vtz. 405) makes 486 ; which, if 
divided by 9, gives, for a quotient, 54 : that is, 
5+4=nine. 



THE MAGIC HUNDRED. 



i:i 



It IS also observable, that the number of changes 
that may be rung on nine bells, is 362,880 ; which 
figures, added together, make 27; thk is^ 2+7= 

And the quotient of 362,880, divided by o, will 
be 40,320; thatis4+o+3+2+o=NiNE. 

.hiu^ ^ *•?!"*■? .J? ^"y gi^^° number, which 

shall render It divisible by Nine: Add the figures 

ogether in your mind, which compose the number 

named ; and the figure which must be added to the 

sum produced, in order to render it divisible bv Q 

is the one required. Thus ^' 

Suppose the given number to be 7521 •> 

Add those together, and 15 will be 'produced • 

now 15 requires 3 to render it divisible by 9 • and 

l^^.''T-u>A' ^^'""^ ^*^<^^'l *<* 7521, causes the 
same divisibility: 7521 plus 3 gives 7524, and. 
divided by 9, gives 836. ^ ^' ' 

rZl\^?^''''iu "^^^^ diversified by your speci- 
fying, before the sum is named, the particular place 
where the figure shall be inserted, to make^The 

th^^"" t2''^^l H^' ^""^ '^ '' ^^^^"y the same 
thing, whether the figure be put at the head of the 
number, or between any two of its digits. 

The Magic Hundred. 

Two persons agree to take, alternately, numbers 
i^!?f^*'' ! ^'""T number, for example, 11, and to 
add them together till one of them has rekched a 
certain sum,, such as 100. By what means can one 
ntl^i^T ^°u *"'u'^ '^"^''^ *° t^at number before the 
^I?f f The whole secret in this, consists in im- 
mediately making choice of the numbers, i, 12. 27. 
34, and so on, or of a series which continually in- 
creases by II, up to 100. Let us suppose, that the 
first person, who knows the game, makes choice 
01 I , It is evident that his adversary, as he must 



152 HOW TO AMUSE. 

pount less than ii, can, at most, reach ". >? 
addfne^to it. The first will then take I. whic^ 
win make 12; and whatever number the second 
rnav add the first will certainly wm, provided he 
Snuahy add the number -^ch forms the com- 
plement of that of bis adversary to " . t.^^t ^s to 
sav if the latter take 8, he must take 3 ; i* 9, he 
must take 2 ; and so on. By following this method 
h^wi^linfalibly attain to 89; and it will then be 
imSble for the second to prevent him from 
Sng first to 100; for whatever number the 
feconf takis, he can attain only to 99 5 after which 
the first may say— "and I makes 100. If the 
secondtake I after89. it would make 90, and his 
Idverir^ would finish by saying-' 'and 10 make 
100 ''Between two persons who are equally ac- 
qnaintedS the ga Je, he who begins must neces- 
sarily win. 

To Guess The Missing Figurb. 

To tell the figure a person has struck out of the 
sum of twogivin numbers :-Arbitranly command 
Zse nSfrs only, that are divisive g 9 ; su^, 
for instance, as 36, 63, 81. 117, 126, 162, ^^^3^' 
^iK and 4^2. Then let a person choose any two of 
these numbers ; and, after adding them together m 
his mind strike out from the sum any one ot the 
figures he pleases. After he has so done desire 
him to tell you the sum of the remaining figures , 
audit fooC that the number which you are 
oWiged to add to this amount, in ordej. %"if/J^ 
QoriS is the one he struck out. Thus .— buppose 
he chooles the numbers 162 and 261, making alto- 
eether 423 and that he strike out the centre figure, 
fhe two^ther figures will, added together make 7^ 
which, to make 9- requires 2, the number strucB 
out. 



NAILS IN THE HORSE'S SHOE. t53 
The King and "run Counski^or. 

A King being desirous to confer a liberal reward 
on one of his courtiers, who had performed some 
very important service, desired him to ask what- 
ever he thought proper, assuring him it should be 
granted. The courtier, who was well acquainted 
with the science of numbers, only requested that 
the monarch would give him a quantity of wheat 
equal to that which would arise from one grain 
doubled sixty-three times successively. The value 
of the reward was immense ; for it will be seen, by 
calculation, that the sixty-fourth term of the double 
progression divided by i : 2 : 4 : 8 : i6: 32 : etc., 
is 9223372036854775808. But the sum of all the 
terms of a double progression, beginning with i, 
may be obtained by doubling the last term, and 
subtracting from it i. The number of the grains 
of wheat, therefore, in the present case, will be 
1844674407370955 1615. Now, if a pint contains 9216 
grains of wheat, a gallon will contain 73728 ; and, 
as eight gallons make one bushel, if we divide the 
above result by eight times 73728, we shall have 
31274997411295 for the number of the bushels of 
wheat equal to the above number of grains : a 
quantity greater than what the whole earth could 
produce in several years. 

The Naii,s in thk Horse's Shoe. 

A man took a fancy to a horse, which a dealer 
wished to dispose of at as high a price as he could ; 
the latter, to induce the man to become a pur* 
chaser, offered to let him have the horse for the 
value of the twenty-fourth nail in his shoes, reckon- 
ing one farthing for the first nail, two for the 
second, four for the third, and so on to the twenty- 
fourth. The man, thinking he should have a good 
bargain, accepted the offer ; the price of the horse 



154 HOW TO AMUSE. 

was. therefore, necessarily great. By calculating 
as before, the twenty-fourth term of the progression 
I • 2 • 4- 8: etc., will be found to be 8388608, 
equal to the number of farthings the purchaser 
give for the horse; the price, therefore amounted 
to ;^8738. 2s. 8d. 

The Dinnkr Party Puzzle. 
A club of seven agreed to dine together every 
day successively as long as they could sit down to 
table in different order. How many dinners would 
be necessary for that purpose ? It may be easi y 
found, by the rules already given, that the club 
must dine together 5040 times, before they would 
exhaust all the arrangements possible, which 
■would require about thirteen years. 

Basket and Stones. 
If a hundred stones be placed in a straight line, 
at the distance of a yard from each other the first 
being at the same distance from a basket, how 
many yards must the person walk who engages to 
pick them up, one by one, and put them wto the 
basket ? It is evident that, to pick up the first 
stone, and put it into the basket, the person must 
walk two yards; for the second, he must walk 
four • for the third, six ; and so on, increasing by 
two to the hundredth. The number of yards which 
the 'person must walk, will be equal to the sum of 
the progression, 2, 4, 6, etc., the last term of which 
is 2<x>, (22). But the sum of the progression if. eqof i 
to 202, the sum of the two extremes, multiplied by 
so, or half the number of terms: that is to say, 
10 100 yards, which makes more than 5/2 miles. 



LIVING PICTURES. 155 



LIVING PICTURES. 

There are few better amusements for a large 
party in the same house, with plenty of time on 
their hands, than the organization of Tableaux 
vtvants. Tableaux, to be successfully represented, 
demand quite as much attention to detail, and 
scarcely less careful rehearsal, than a theatrical 
performance. The first element of success is a 
competent stage manager. His artistic taste should 
be beyond all question, and his will should be law 
among the members of his corps. The essentials 
of a **livmg picture '' are very much the same as 
those of a picture of the inanimate description, 
viz., form, color, and arrangement. If, therefore, 
you can secure for the office of stage manager a 
gentleman of some artistic skill, by all means do 
so, as his technical knowledge will be found of the 
greatest possible service. 

Before proceeding to pi an your series of pictures, 
It will be necessary to provide the ** frame'* in 
which they are to be exhibited. If the room which 
you propose to use has folding-doors, they will of 
course be used. A curtain, preferably of some dark 
color, should be hung on each side, and a lambre- 
quin, or valance, across the top. Where circum- 
stances admit, the directions we give elsewhere as 
to the construction of a stage and proscenium foi 
private theatricals, may be followed with advan- 
tage. In any case, a piece of fine gauze should be 
carefully stretched over the whole length and 
depth of the opening. This is found, by producing 
s^ter outlines, materially to enhance the pictorial 
effect. If it IS practicable to have a raised stage, it 
will be found a great addition. Where this.cannol 
be arranged, it is well to place a board, six inches 
m width, and covered with the same material as the 
rest of the frame, across the floor (on edge) fron? 



k 



156 HOW TO AMUSE. 

side to side, in the position which the footlights 
would ordinarily occupy. . 

The next consideration will be the curtain. The 
ordinary domestic curtains, hung by rings from a 
rod or pole, and opening in the middle, will serve 
as a makeshift ; but where a really artistic series 
of tableaux is contemplated, the regular stage- 
curtain of green baize is decidedly to be preferred. 
The question of ' ' background '' will be the next 
point to be attended to. Tableaux vivants may 
be divided into two classes, the dramatic^ Le.y repre- 
senting some incident, e,g.,2. duel, or a trial m a 
court of justice ; and the simply artistic, viz., such 
as portrav merely a group, allegorical or other- 
wise, without reference to any particular plot or 
story. For the former, an appropriate scene is re- 
quired, varying with each tableau represented ; for 
the latter, all that is necessary is a simple back- 
ground of drapery, of such a tone of color as to 
harmonize with, and yet to give full prominence to, 
the group of actors. The material of the latter, as 
also the covering of the floor, should be of woolen 
or velvet, so as to absorb rather than reflect light. 
A lustrous background, as of satin or glazed calico, 
will completely destroy the effect of an otherwise 
effective tableau. 

The lighting is a point of very considerable im- 
portance—the conditions appropriate to an ordi- 
nary theatrical performance being here reversed. 
In an ordinary dramatic performance all shadow is 
a thing to be avoided, the point aimed at being to 
secure a strong bright light, uniformly distributed 
over the sta^e. In a tableau vivant, on the con- 
trary, the skilful manipulation of light and shade 
is a valuable aid in producing artibtic effect. Foot- 
lights should, in this case, either be dispensed 
with altogether, or at any rate used very sparingly, 
the stronger light coming from one or the other 
side. A good deal of experiment, and some little 
artistic taste, will be necessary to attain the right 



LIVING PICTURES. 157 

balance in this particular. Where gas is available, 
it will afford the readiest means of illumination. 
What is called a ** string-light," viz., a piece of 
gaspipe with fishtail burners at frequent intervals, 
connected with the permanent gas arrangements 
of the house by a piece of india-rubber tube, and 
fixed in a vertical position behind each side of the 
temporary proscenium, will be found very effec- 
tive ; one or the other set of lights being turned up 
as may be necessary. Where a green or red light 
is desired, the interposition of a strip of glass of 
that color, or of a ** medium *' of red or green silk 
or tammy, will give the necessary tone. Colored 
fires are supplied for the same purpose, but are 
subject to the drawback of being somewhat odor- 
iferous in combustion. Where, as is sometimes the 
case, a strong white light is required, this may be 
produced by burning the end of a piece of magne- 
sium wnre in the flame of an ordinary candle. 

These points being disposed of, costume and 
make-up will be the next consideration. As to the 
latter, the reader will find full instructions in the 
chapter devoted to private theatricals. With re- 
spect to costume, as the characters are only seen 
for a few moments, and in one position, this point 
may be dealt with in a much more rough and- 
ready manner than would be advisable in the case 
of a regular dramatic performance. The royal 
crown need only be golden— the royal robe need 
only be trimmed with ermine— on the side toward 
the spectators ; indeed, the proudest of sovereigns, 
from the audience point of view, may, as seen from 
the rear, be the humblest of citizens. Even on the 
side toward the spectators a great deal of '* make- 
believe'* is admissible. Seen through the inter- 
venmg gauze, the cheapest cotton velvet is equal 
to the richest silk ; glazed calico takes the place of 
satin -, and even the royal ermine may be admira- 
bly simulated by tails of black worsted stitched on 
•i ground of flannel. Laces may be manufactured 



158 HOW TO AMUSE. 

from cut paper, and a dollar's worth of tinsel will 
afford jewels for a congress of sovereigns. Of 
course, there is not the least objection to his wearing 
a crown of the purest gold, or diamonds of the 
finest possible water (if he can get them), but they 
will not look one whit more effective than the 
homely substitutes we have mentioned. 

A * ' ghost effect ** may, where necessary, be pro- 
duced by the aid of a magic lantern ; the other 
lights of the tableau being lowered in order to give 
sufficient distinctness to the reflection. 

Dramatic tableaux may often be exhibited with 
advantage in two or more * * scenes ; ' ' the curtain 
being lowered for a moment in order to enable the 
characters to assume a fresh position. Examples 
of this will be found among the tableaux which 
follow. 

Having indicated the general arrangements of 
tableaux vivants, we append, for the reader's 
assistance, a selection of effective subjects, both 
simply pictorial, and dramatic. 

I. Dignity and Impudence. 

( With background of plain drapery^ remaining 
unchanged.) 

A magnificent flunkey, in a gorgeous suit of 
livery, standing (with left hand on hip, right hand 
in breast), side by side with a very small and saucy 
**boy in buttons,** upon whom he looks down 
superciliously. Boy with both hands in trouser- 
pockets, and gazing up at his companion with an 
expression of impertinent familiarity. 

II. The Fortune-Tei^IvER. 

A pretty girl, in simple outdoor costume, stand- 
ing sideways to the spectators, with downcast eyes, 
and a half-smiling, half- frightened expression. The 
fortune-teller faces her, and holds the young lady's 



LIVING PICTURES. 159 

right hand in her left, while her own right holds a 
coin with which she is apparently tracing the lines 
of the young lady's palm, at the same time gazing 
with an arch expression into her face, as though to 
note the effect of her predictions. The fortune- 
teller should be in gipsy costume, a short, dark 
skirt, and a hood of some brighter material thrown 
carelessly over her head. She should be of a 
swarthy complexion, with a good deal of color, 
and jet-black hair. 

III. Faith. 

A large cross, apparently of white marble (really 
of deal, well washed with whitening and size) 
occupies a diagonal position across the centre of 
the stage, facing slightly towards the left. Its 
base or plinth is formed of two or three successive 
platforms or steps of the same material. At the 
foot a woman kneels, clasping her arms around the 
cross, as though she had just thrown herself into 
that position in escaping from some danger. Her 
gaze should be directed upwards. A loose brown 
robe and hood, the latter thrown back off the head, 
will be the most appropriate costume. Magnesium 
light from above. 

IV. HoPK. 

A female figure, clothed in sober gray, and seated 
on a very low stool, facing r., and gazing heaven- 
wards. (If a** sky" background is procurable, a 
single star should be visible, and should be the 
object of her gaze.) Her right elbow rests upon 
her right knee, and her right hand supports her 
chin. Her left hand hangs by her side, and at her 
feet lies the emblematic anchor. Red light, not 
too strong. 

V. Charity. 

A ragged boy, barefooted, and clasping a worn- 
out broom, sits huddled on the ground i,., but 



i6o HOW TO AMUSE. 

facing R. His arms are folded and rest on his knees, 
and his head is bent down upon them, so as to hide 
his face. A girl, in nun's costume, is touching 
him on the shoulder, and apparently proflfering 
help and sympathy. 

VI. S1NG1.K Life. 

Scene, a tolerably well-furnished but untidy 
sitting-room, with numerous traces of bachelor 
occupation, such as crossed foils on the wall, a set 
of boxing-gloves under a side-table ; boots, hats, 
and walking-sticks lying about in various direc- 
tions. On one corner of the table some one has 
apparently breakfasted in rather higgledy-piggledy 
fashion. Near the table sits a young man, with a 
short pipe in his mouth, and one foot bare, while 
he is endeavoring to darn an extremely dilapidated 
sock. 

VII. The Saii^or's Farewki.1.. 

Scene, a cottage home. A young man, in sailor 
costume, and with a bundle on his shoulder, stands 
with his right hand on the latch of the door, r.c, 
but looking back with a sorrowful expression at 
his wife (personated by a young lady in short black 
or blue skirt, red or white blouse, and white mob- 
cap), who sits with her apron up to her eyes in an 
apparent agony of grief. Three children are 
present, the two elder crying for sympathy, the 
youngest sitting in a crib or cradle, and amusing 
himself with some toy, in apparent unconsciousness 
of his father's approaching departure. Soft blue 
light from i,. Music, *' The Minstrel Boy." 

VIII. Home Again. 

The same scene. Children a couple of years 
older. (This may be efifected by suppressing the 
youngest, and introducing a fresh eldest, as much 
like the others as possible.) The sailor of the last 



IvlVING PICTURES. i6i 

scene, slightly more tanned, and with a fuller, 
** made-up*' beard, has apparently just entered. 
The wife has both arms round his neck, her face 
being hidden in his bosom. Of the children, the 
eldest has seized and is kissing her father's hand, 
while the two younger each cling round one leg. 
Soft red light. Music, **A Lass that Loves a 
Sailor,'* or ** When Johnny comes Marching Home 
Again. ' ' 

Various Tabi^eaux. 

We have not space to give the complete mise 
en sc^ne of a larger number of tableaux, but 
subjoin a list of favorite subjects, leaving their 
actual arrangement to the taste and intelligence of 
the reader. It will usually be safe to follow the 
hints in good illustrations. 

*' Choosing the Wedding Gown." A charming 
scene, after Mulready, from the *' Vicar of Wake- 
field.'* 

* * WilHam Penn Signing the Treaty with the In- 
dians." 

'* Scene from ' Pickwick.* " Mr. Pickwick, with 
Mrs. Bardell in his arms, surprised by his four 
friends, whose countenances are just visible in the 
open doorway. See illustrations to ** Pickwick 
Papers.*' 

^<The Drunkard's Home," ''Signing the 
Pledge." ''The Temperance Home." See some 
good illustrations. 

" Mary Queen of Scots and the Four Maries." 

"Mr. Pecksniff Dismissing Tom Pinch." 

' ' The Song of the Shirt. ' ' 

" Little Red Riding-Hood." 

"The Duel from the *Corsican Brothers.' " 

"H^loiseinherCell.*^ 

" William Tell Shooting the Apple from his 
Son's Head." 

Ktc, etc., etc. 



i62 HOW TO AMUSE. 



THK WAXWORKS GAI.I.ERY. 

This capital form of amusement has attained 
great and deserved popularity. It shares with 
Living Pictures the merit of giving employment to 
several performers at once, and has the special ad« 
vantage of being far more easily organized. The 
idea is that of a Waxwork Exhibition, the char- 
acters being personated, after a burlesque fashion, 
by living performers. Each ** figure " is first duly 
described by the exhibitor, and then *' wound up,'* 
and made to go through certain characteristic 
movements. 

The collection is supposed to be that of the far- 
famed Mrs. Jarley, of "Old Curiosity Shop" 
celebrity. She may be assisted, if thought de- 
sirable, by ** Little Nell," and a couple of man- 
servants, John and Peter. The costume of Mrs. 
Jarley is a black or chintz dress, bright shawl, and 
huge bonnet ; that of Little Nell may be a calico 
dress, and white apron, with hat slung over her 
arm. John and Peter may be dressed in livery 
suits, and should be provided with a watchman's 
rattle, screw-driver, hammer, nails, and oil-can. 
At the rise of the curtain the figures are seen 
ranged in a semicircle at the back of the stage, and 
Little Nell is discovered dusting them with a long 
feather brush. Mrs. Jarley stands in front, and 
delivers her descriptive orations, directing her men 
to bring forward each figure before she describes 
it. After having been duly described, the figure is 
** wound " up, and goes through its peculiar move- 
ment, and when it stops it is moved back to its place. 

If the stage is small, or it is desired that the 
same actors shall appear in various characters in 
succession, the figures may be exhibited in suc- 
cessive groups or compartments, the curtain being 
lowered to permit one party to retire, and another 



THE WAXWORKS GALLERY. 163 

to take their places. After the whole of the fig- 
ures of a given chamber have been described, 
the assistants wind them all up, and they go 
through their various movements simultaneously, 
to a pianoforte accompaniment, which should 
gradually grow faster, coming at last to a sudden 
stop, when the figures become motionless, and the 
curtain falls. 

If it is found impracticable to procure a lady to 
deliver the descriptions effectively, Mrs. Jarley 
may be made a silent character, sitting on one 
side, and occasionally making believe to dust or 
arrange a figure, while the ' * patter ' * is delivered 
by a male exhibitor. Or Mrs. Jarley may, if pre- 
ferred, be suppressed altogether, and the exhibitor 
appear as (say) Artemus Ward, or in ordinary 
evening costume, without assuming any special 
character. A good deal of fun may be made of the 
supposed tendency of any particular figure to tip 
over, and the application, by John and Peter, of 
wooden wedges, penny pieces, etc. , under its feet 
to keep it upright. Supposed defective working, 
causing the figure to stop suddenly in the middle 
of its movement, and involving the re-winding or 
oiling of its internal mechanism, will also produce 
a good deal of amusement. The ** winding up'^ 
may be done with a bed-winch, a bottle-jack key, 
or the winch of a kitchen range, the click of the 
mechanism being imitated by means of a watch- 
man's rattle, or by the even simpler expedient of 
drawing a piece of hard wood smartly along 
a notched stick. (This, of course, should be done 
out of sight of the audience.) The movement of 
the figure should be accompanied by the piano, to 
a slow or lively measure, as may be most appro- 
priate. 

The arrangement being complete, and the cur- 
tain raised, Mrs. Jarley delivers her opening 
speech, about as follows*: — 

'* Ladies and Gentlemen, — You here behold Mrs. 



i64 HOW TO AMUSK. 

Jarley ! one of the most remarkable women of the 
world, who has traveled all over the country^ with 
her curious Collection of Waxworks. These fig- 
ures have been gathered, at great expense, from 
every clime and country, and are here shown 
together for the first time. I shall describe each 
one of them for your benefit, and, after I have 
given you their history, I shall have each one of 
them wound up, for they are all fitted with clock- 
work inside, and they can thus go through the 
same motions they did when living. In fact, they 
execute their movements so naturally that many 
people have supposed them to be alive ; but I 
assure you that they are all made of wood and 
wax ; — blockheads every one. 

' ' Without further prelude, I shall now introduce 
to your notice each one of my figures, beginning, 
as usual, with the last one first.** 

I. The Chinkse Giant. 

A man or woman standing on a high stool, chintz 
skirt round the waist, long enough to hide the 
stool, Chinese over-dress, liat, pig-tail, and 
moustache. 
**This figure is universally allowed to be the 
tallest figure in my collection ; he originated in 
the two provinces of Oolong and Shang-high, one 
province not being long enough to produce him. 
On account of his extreme length it is impossible 
to give any adequate idea of him in one entertain- 
ment ; consequently he will be continued in our 
next. 

"He was the inventor, projector, and discoverer 
of Niagara Falls, Bunker's Hill Monument, and 
the Balm of Columbia. In fact, everything was 
originally discovered by him or some other of the 
Chmese. The portrait of this person, who was a 
high dignitary among them, may be often seen 



THK WAXWORKS GALIvERY. 165 

depicted on a blue china plate, standing upon a 
bridge, which leans upon nothing at either end, 
and intently observing two birds which are behind 
him in the distance. 

"John, wind up the Giant.'' 

The Giant bows low, then wags his head three 
times, and bows as before, and after a dozen mo- 
tions slowly stops. 

** You will observe that I have spared no expense 
in procuring wonders of every sort, and here is my 
crowning effort or master-piece. " 

II. The: Two-Headed Giri.. 

** A remarkable freak of Nature, which impresses 
the beholder with silent awe. 'Observe the two 
heads and one body. ' * See these fair faces, each 
one lovelier than the other. ' No one can gaze upon 
them without a double sensation * of sorrow and 
of joy ' — sorrow that such beauty and grace were 
ever united, and joy that he has had the pleasure 
of contemplating their union. 

* * Wind them up, Peter. ' ' 

This figure is made by two young ladies standing 
back to back wrapped in one large skirt. They 
hold their arms out with their hands hanging, and 
slowly revolve when they are wound up. 

III. The Sewing Woman. 

**John, bring out the Sewing Woman, and let 
the ladies behold the unfortunate seamstress who 
died from pricking her finger with a needle while 
sewing on Sunday. You see that the work which 
she holds is stained with gore, which drips from 
her finger on to the floor. (Which is poetry !) 
This forms a sad and melancholy warning to all 
heads of families immediately to purchase the best 



i66 HOW TO AMUSE. 

sewing-machines, for this accident never could have 
happened had she not been without one of those 
excellent machines, as no family should be.'* 

Costume. — Optional. 

When wound up the figure sews very stiffly and 
stops slowly. 

IV. Captain Kidd and his Victim. 

*' Ladies and Gentlemen, — Permit me to call 
your attention to this beautiful group, which has 
lately been added at an enormous expense to my 
collection. You here behold the first privateer and 
the first victim of his murderous propensities. 
Captain Kidd, the robber of the main, is supposed 
to have originated somewhere down east. His 
whole life being spent upon the stormy deep, he 
amassed an immense fortune, and buried it in the 
sand along the flower-clad banks of Cape Cod, by 
which course he invented the Savings Banks, now 
so common along shore. Having hidden away so 
much property, which, like so many modern in- 
vestments, never can be unearthed, he w^as known 
as a great sea-cretur. Before him kneels his 
lovely and innocent victim, the Lady Blousabella 
Infantina, who was several times taken and mur- 
dered by this bloodthirsty tyrant, which accounts 
for the calm look of resignation depicted upon her 
lovely countenance. 

"Wind 'em up, John.'* 

Costumes. — Captain Kidd — White pantaloons, 
blue shirt, sailor hat, pistol, and sword. 

Victim. — Lady with flowing hair, white dress. 

Movement. — The Captain's sword moves up and 
down, and the victim's arms go in unison. 

V. Thk Siamese; Twins. 

Two gentlemen dressed alike in ordinary cos- 
tume ; with a large bone (attached by wire or 



THE WAXWORKS GALLERY. 167 

string) between them. One arm of each over 
the other's neck. Pugnacious expression of coun- 
tenance. 

"The Wonderful Siamese Twins compose the 
next group. These remarkable brothers lived to- 
gether in the greatest harmony, though there was 
always a bone of contention between them. They 
were never seen apart, such was their brotherly 
fondness. They married young, both being 
opposed to a single life. The short one is not 
quite so tall as his brother, although their ages 
are about the same. One of them was born in the 
Island of Borneo, the other on the southern ex- 
tremity of Cape Cod.'* 

When wound up they begin to fight, continue 
for a moment, and stop suddenly. 

VI. The CKI.KBRATKD Dwarf. 

Boy with red cloak, long white wig, bowl and 
spoon. 

** This wonderful child has created some interest 
in the medical and scientific world, from the fact 
that he was thirteen years old when he was born, 
and kept on growing older and older until he died, 
at the somewhat advanced age of two hundred and 
ninety- seven, in consequence of eating too freely 
of pies and cakes, his favorite food. He meas- 
ured exactly two feet and seven inches from the 
crown of his head to the sole of his foot, and two 
feet and ten inches back again. Was first discov- 
ered ten miles from any land, and twelve miles 
from any water, making the enormous total of 
ninety-one, which figure was never before reached 
by any previous exhibition. Wind him up, John. * ' 

Dwarf eats very stiffly with a large spoon in his 
right hand ; in his left hand he holds a bowl, 
which falls on the floor after a moment, and is 
broken. 



i68 HOW TO AMUSE. 

**John, get your tools and screw up that dwarfs 
hand, for it has become so loose that it costs a for- 
tune for the crockery he breaks." 

John screws up the hand, gets a new bowl, and 
again winds up the figure, which now moves with 
much greater energy. 

VII. The V0CAI.IST. 

** Bring out the Vocalist. I now call your atten- 
tion to the most costly of all my figures. This 
wonderful automaton singer represents ^gnorina 
Squallini, the unrivaled Vocalist, whose notes are 
current in every market, and sway all hearts, at 
her own sweet will. 

" Wind her up, and let her liquid notes pour 
forth. 'V 

She gesticulates wildly, and sings a few notes 
in a very extravagant manner, then stops with a 
hoarse sound. 

Mrs. J. — **John, this figure needs oiling. Wliy 
do you not attend to your duties better? " 

John gets oil-can, which he applies to each ear of 
the figure, which strikes a high note, and sings 
with much expression and many trills, then 
makes a gurgling sound, as if running down, and 
suddenly stops again. 

Costume. — Evening dress. 

VIII. The Yankee. 

Description. — A tall, thin man, clean shaven but 
for a tuft on chin, dressed in black, with broad- 
brimmed straw hat. He is seated on a low rock- 
ing-chair, with his legs resting on the back of 
another chair. He holds a wooden stick, which he 
is whittling with a jack-knife. 

** You here behold a specimen of our irrepressi- 
ble, indomitable, native Yankee, who has been. 



THE WAXWORKS GALIvERY. 169 

everywhere, seen everything, and knows every- 
body. He has explored the arid jungles of Africa, 
drawn forth the spotted cobra by his prehensile 
tail, snowballed the Russian bear on the snowy 
slopes of Alpine forests, and sold wooden nutmegs 
to the unsuspecting innocents of Patagonia. He 
has peddled patent medicines in the desert of 
Sahara, and hung his hat and carved his name on 
the extreme top of the North Pole. The only 
difficulty I find in describing him is that I cannot 
tell what he cannot do. I will therefore set him 
in motion, as he hates to be quiet." 

When wound up he pushes his hat back on his 
head and begins to whittle. 

IX. The: Cannibai,. 

**Here you behold a curious Cannibal from the 
Feejee Islands, first discovered by Captain Cook, 
who came very near being cooked by him. In 
that case the worthy Captain would never have 
completed his celebrated voyage round the world. 
This individual was greatly interested in the cause 
of foreign missions. Indeed, he received the mis- 
sionaries gladly, and gave them a place near his 
heart. He was finally converted by a very tough 
tract distributor, who had been brought up in a 
Bloomsbury boarding-house, and was induced to 
become civilized. One of his evidences of a change 
of life was shown by his statement that he now 
had but one wife, like the English. * What have 
you done with the other twelve which you said 
you had a month ago ? ' asked the tract distributor. 
* Oh, I have eaten them ! ' replied the gentle sav- 
age. This Cannibal was very fond of children, es- 
pecially those of a tender age ; he holds in his 
hand a war-club, with which he prepared his daily 
meals, also a war-whoop, which is an original 
one. '* 



170 HOW TO AMUSE. 

Costume. — Brown jersey and drawers, face and 
hands colored to match, very short skirt, feather 
head-dress, large rings in nose and ears. One hand 
holds a war-club, the other a child ^s hoop. 

Movement. — When wound up he brandishes his 
club and raises hoop to his mouth. 

X. Babks in thk Wood. 

Two men, the bigger the better, one dressed as a 
very small boy, the other as a little girl ; each 
holds a penny bun. 

*' In the next group you behold the Babes in the 
Wood, who had the misfortune to have an uncle. 
This wicked man hired a villain to carry these 
babes away into the wood and leave them to 
wander until death put an end to their sorrow, and 
the little robins covered them up with leaves. 
These lifelike figures represent the children just 
after taking their leaves of the villian. By a mas- 
ter stroke of genius the artist has shown very deli- 
cately that human nature is not utterly depraved, 
for the villain has placed in the hand of each of 
the innocents a penny bun as a parting present. I 
have been often asked * why I did not have a figure 
of the villain also added to the group ? * but my 
reply always is, * Villains are too common to be 
any curiosity.' 

** Wind *em up, John.'* 

Each Babe offers to the other a bite of bun al- 
ternately. 

XI. l/iTrm Rkd Riding-Hood. 

A young lady carrying a basket on her arm. 
Costume in accordance with the story. 

''Here you behold Little Red Riding-Hood, a 
model of grand-filial devotion, for she was so fond 
of her granny that she wandered through the forest 
to take the old lady's luncheon, and was eaten by 



THE WAXWORKS GALIvKRY. 171 

the wolf for so doing, which is a warning to all 
children to be careful how they do much for theit 
grandmothers, unless they are rich and can leave 
them something in their wills. This personage 
was an especial favorite with children, who love to 
read about her, and shed tears over her unhappy 
fate, although some of them think that had she 
been as smart as her dress, she would have been 
too smart to have mistaken the wolf for her grand- 
mother, unless she had been a very homely old 
lady, or he had been much better-looking than 
most wolves." 

When wound up, the figure curtseys and holds 
out her basket. 

XII. lyADY WITH GOI.DEN IvOCKS. 

Young lady, with long fair hair, flowing over her 
shoulders ; holds bottle (labelled Mrs. Blank*s Hair 
Restorer) and curling-tongs. 

' ' This is one of the most expensive of my costly 
collection, for blonde hair is very high, and you 
see how heavy and long are the golden locks which 
adorn her beautiful face. I cannot pass this figure 
without saying a few words in praise of the won- 
derful Hair Restorer, for this image had grown so 
bald from the effect of long journeys by road or 
rail that she was exhibited for two years as the Old 
Man of the Mountain. One bottle of this wonder- 
ful fluid, however, restored her hair to its present 
growth and beauty, and a little of the fluid being 
accidentally spilled upon the pine box in which the 
figure was carried, it immediately became an ex- 
cellent hair-trunk." 

When wound up the lady applies the hair-restor- 
ative and curls her hair. 

"You have all gazed with rapture upon my 
wonderful Collection, and your bewildered senses 
may now prepare for a new sensation, as I am 



J72 HOW TO AMUSE. 

about to wind up all these beautiful and lifelike 
figures at once, so that you can see them all work 
together in harmony. 

*♦ John, set all the Waxworks going. 

** I thank you for your attention and attendance, 
and cordially invite you all to come again to-mor- 
row and see 'Jarley^s Far-famed Waxworks. 

All the figures being wound up at once go 
through their motions in unison. 



OPTICAL ILLUSIONS. 173 



OPTICAL ILLUSIONS. 



Raising a Ghost. 

Place a small magic lantern in a box large 
enough to contain a small swing dressing- glass, 
which will reflect the light thrown on it by the 
lantern in such a way, that it will pass out at the 
aperture made at the top of the box, which aperture 
should be oval, and of a size adapted o the cone 
of light to pass through it. There should be a flap 
with hinges, to cover the opening, that the inside 
of the box may not be seen. There must be holes 
in that part of the box which is over the lantern, 
to let the smoke out ; and over this must be placed 
a chafing-dish, of an oblong figure, large enough to 
hold several lighted coals. This chafing-dish, for 
the better carrying on the deception, may be in- 
closed in a painted tin box, about a foot high, with 
a hole at top, and should stand on four feet, to let 
the smoke of the lantern escape. There must also 
be a glass planned to move up and down in the 
groove, and so managed by a cord and pulley, that 
it may be raised up and let down by the cord com- 
ing through the outside of the box. On this glass, 
the spectre (or any other figure you please) must 
be painted, in a contracted or squat form, as the 
figure will reflect a greater length than it is drawn. 
When you have lighted the lamp in the lantern, 
and placed the mirror in a proper direction, put 
the box on a table, and, setting the chafing-dish in 
it, throw some incense in powder on the coals. 
You then open the trap door and let down the 
glass in the grove slowly, and when you perceive 



174 HOW TO AMUSB. 

the smoke diminisli, draw up the glass that the 
figure may disappear, and shut the trap door. This 
exhibition will afford much wonder. The lights 
in the room must be extinguished ; and the box 
should be placed on a high table, that the aperture 
through which the light comes out may not be 
seen. 

A Magic Lante^rn Trick. 

The light of the magic lantern, and the color of 
images, may not only be painted on a cloth, but 
also reflected by a cloud of smoke. Provide a box 
of wood or pasteboard, about four feet high, and 
seven or eight inches square at bottom, but dimin- 
ishing as it ascends, so that its aperture at top be 
but six inches long, and half an inch wide. At the 
bottom of this box there must be a door that shuts 
quite close, by which you are to place in the box a 
chafing-dish with hot coals, on which is to be 
thrown incense, whose smoke goes out in a cloud 
at the top of the box : on this cloud, you are to 
throw the light that comes out of the lantern, and 
which you bring into a smaller compass by draw- 
ing out the movable tube. In this representation, 
the motion of the smoke does not at all change the 
figures ; which appear so conspicuous that the 
spectator thinks he can grasp them with his hand. 
In the experiment, some of the rays passing 
through the smoke, the representation will be much 
less vivid than on the cloth ; and if care be not 
taken to reduce the light to its smallest focus, it 
will be still more imperfect. 

The: Phantasmagoria. 

In showing the common magic lantern, the spec- 
tators see a round circle of light with the figures in 
the middle of it ; but, in the Phantasmagoria, they 
see the figures only, without any circle of light. 
The exhibition is produced by a magic lantern, 



OPTlCAIy IIvLUSIONS. 175 

placed on that side of a half transparent screen 
which is opposite to that on which the spectators 
are, instead of being on the same side, as in the or- 
dinary exhibition of the magic lantern. To favor 
the deception, the slides are made perfectly opaque, 
except in those places that contain the figures to be 
exhibited, and in these light parts the glass is cov- 
ered with a more or less transparent tint, accord- 
ing to the effect required. The easiest way is to draw 
the figures with water colors on thin paper, and 
afterward varnish them. To imitate the natural 
motions of the objects represented, several pieces 
of glass, placed behind each other, are occasionally 
employed. By removing the lantern to different 
distances, and at the same time, altering, more or 
less, the position of the lens, the images are made 
to increase and diminish, and to become more or 
less distinct at the pleasure of the exhibitor ; so 
that, to a person unacquainted with the effect of 
optical instruments, these figures appear actually 
to advance and recede. Transparent screens for 
the Phantasmagoria are prepared by spreading 
white wax, dissolved in spirits of wine or oil of tur- 
pentine, over thin muslin : a screen so prepared 
may be rolled up without injury. A clearer screen 
may be produced, by having the muslin always 
strained upon a rectangular frame, and preparing 
it with turpentine, instead of wax : but such a 
screen is not always convenient, and cannot be 
rolled without cracking, and becoming, in a short 
time useless. 

Chinksk Shadows. 

Cut out an aperture in a partition wall, of any 
size ; for example, four feet in length and two in 
breadth, so that the lower edge may be about five 
feet from the floor, and cover it with white Italian 
gauze, varnished with gum-copal. Provide several 
frames of the same size as the aperture, covered with 



176 HOW TO AMUSE. 

the same kind of gauze, and delineate upon tbe 
gauze different figures, such as landscapes and 
iDuildings, analogous to the scenes which you intend 
to exhibit by means of small figures representing 
men and animals. These figures are formed of paste- 
board, and their different parts are made movable, 
according to the effect intended to be produced by 
their shadows, when moved backward and forward 
behind the frames, at a small distance from them. 
To make them act with more facility, small wires, 
fixed to their movable parts, are bent backward, 
and made to terminate in rings, through which the 
fingers of the hand are put, while the figure is sup- 
ported by the left, by means of another iron wire. 
In this manner they may be made to advance or 
recede, and to gesticulate, without the spectators 
observing the mechanism by which they are 
moved ; and as the shadow of these figures is not 
observed on the paintings till they are opposite 
those parts which are not strongly shaded, they 
may thus be concealed, and made to appear at the 
proper moments, and others may be occasionally 
substituted in their stead. 

It is necessary, when the figures are made to act. 
to speak a dialogue, suited to their gestures, and 
imitate the noise occasioned by different circum- 
stances. The paintings must be illuminated from 
behind by means of a reverberating lamp, placed 
opposite to tbe centre of the painting, and distant 
from it about four or five feet. Various amusing 
scenes may be represented in this manner, by em- 
ploying small figures of men and animals, and 
making them move in as natural a way as possible, 
which will depend on the address and practice of 
the person who exhibits them. 

A WoNDKRi^ui. Mirror. 

Make two openings, of a foot high, and ten inches 
wide, and about a foot distant from each other, in 



OPTICAL ILLUSIONS. 177 

the wainscoting of a wall ; let them be at the com- 
mon height of a man's head ; and in each of them 
place a transparent glass, surrounded with a frame, 
like a common mirror. Behind this partition place 
two mirrors, one on the outward side of each open- 
ing, inclined to the wainscot at an angle of forty- 
five degrees ; let them both be eighteen inches 
square ; let all the space between them be enclosed 
by boards or pasteboard, painted black, and well 
closed, that no light may enter ; let there be also 
two curtains to cover them, which may be drawn 
aside at pleasure. When a person looks into one 
of these supposed mirrors, instead of seeing his own 
face he will perceive the object that is in the front 
of the other ; so that, if two persons present them- 
selves at the same time before these mirrors, instead 
of each one seeing himself they will reciprocally 
see each other. There should be a sconce with a 
candle or lamp placed on each side of the two 
glasses in the wainscot, to enlighten the faces of 
the persons who look in them, otherwise this ex- 
periment will have no remarkable effect. 

This recreation may be considerably improved 
by placing the two glasses in the wainscot in ad- 
joining rooms, and a number of persons being pre- 
viously placed in one room, when a stranger enters 
the other, you may tell him his face is dirty, and 
desire him to look in the glass, which he will nat- 
urally do; and on seeing a strange face he will 
draw back ; but returning to it, and seeing another, 
another, and another, what his surprise will be is 
more easy to conceive than express. 

When one looks in a mirror placed perpendicu- 
larly to another, his face will appear entirely 
deformed. If the mirror be a little inclined, so as 
to make an angle of eighty degrees (that is, one- 
ninth part from the perpendicular), he will then 
see all the parts of his face, except the nose and 
forehead ; if it be inclined to sixty degrees (that is, 



178 HOW TO AMUSK. 

one-third part), he will appear with three noses and 
six eyes ; in short, the apparent deformity will vary 
at each degree of inclination ; and when the glass 
comes to forty-five degrees (that is, half-way down), 
the face will vanish. If, instead of placing the 
two mirrors in this situation, they are so disposed 
that their junction may be vertical, their different 
inclinations will produce other effects ; as the 
situation of the object relative to these mirrors is 
quite different. 

The Disappearing Paper. 

Attach to a dark wall a round piece of paper an 
inch or two in diameter, and, a little lower, at the 
distance of two feet on each side, make two marks ; 
then place yourself directly opposite to the paper, 
and hold the end of your finger before your face in 
such a manner, that when the right eye is open, it 
shall conceal the mark on the left, and, when the 
left eye is open, the mark on the right ; if you 
then look with both eyes to the end of your finger, 
the paper, which is not at all concealed by it from 
either of your eyes, will, nevertheless, disappear. 

Muw I PITIED Money. 

Take a large drinking-glass, of a conical form, 
that is, small at bottom and wide at top, and, 
having put into it a dime, let it be half filled with 
water ; then place a plate upon the top of the glass, 
and turn it quickly over, that the water may not 
get out ; a piece of silver as large as half a dollar 
will immediately appear on the plate, and some- 
what higher up another piece of the size of a dime. 



SivEIGHT OF HAND. 179 



SIvEIGHT OF HAND. 



To Bai^anck an Egg. 

Lay a looking glass upon an even table ; take a 
fresh egg, and shake it for some time, so that the 
yolk may be broken and mixed up with the white. 
You may then balance it on its point, and make it 
stand on the glass. This it would be impossible to 
do if the egg was in its natural state. 

Thk JuggIvEr's Lunch. 

Pare some large apples that are rather of a yel- 
low tint ; cut several pieces out of them in the 
shape of a candle-end, round, of course, at the 
bottom, and square at the top ; in fact, as much as 
possible like a candle that has burnt down within 
an inch or so. Then, cut some slips out of the 
insides of sweet almonds, fashion them as much in 
the shape of spermaceti wicks as you can, stick them 
into your mock candles, light them for an instant, 
so as to make their tops black, blow them out 
again, and they are ready for use. When you pro- 
duce them, light them (the almond will readily take 
fire, and flame for a few moments), put them into 
your mouth, chew and swallow them one after 
another. 

Ring and Ribbon. 

Select two pieces of ribbon, alike in length, 
breadth, and color; double each separately, so that 
the ends meet ; then tie them together neatly, 
with a bit of silk of their own color, by the middle, 
or crease made in doubling them. This must all be 



i8o HOW TO AMUSK. 

dene in advance. When you are going to exhibit 
this trick, pass some rings on the doubled ribbons, 
and give the two ends of one ribbon to one person 
to hold, and the two ends of the other to another. 
Do not let them pull hard, or the silk will break, 
and your trick be discovered by the rings falling 
on the ground, on account of the separation of the 
ribbons. Request the two persons to approach 
each other, and take one end from each of them, 
and without their perceiving it, return to each of 
them the end which the other had previously held. 
By now giving the rings, which appeared strung on 
the ribbon, a slight pull, you may break the silk, 
and they will fall into your hand. 

Thk Changing Bai.1. Trick. 
Take a ball in each hand, and stretch your hands 
as far as you can, one from the other ; then state 
that you will contrive to make both the balls come 
into either hand, without bringing the hands near 
each other. If any one dispute your power of doing 
this, you have no more to do than to lay one ball 
down upon the table* turn yourself, and take it up 
with your other hand. Thus both the balls will be 
in one of your hands, without their approaching 
each other. 

A SKNSITIV15 GOBI.ET. 

To fill a glass with water, so that no one may 
touch it without spilling all the water. Fill a corn- 
mon glass or goblet with water, and place upon it 
a bit of paper, so as to cover the water and edge of 
the glass ; put the palm of your hand on the paper, 
and taking hold of the glass with the other, sud- 
denly invert it on a very smooth table, and gently 
draw out the paper ; the water will remain sus- 
pended in the glass, and it will be impossible to 
move the glass without spilling all the water. 



SIvEIGHT OF HAND. i8i 

To Light a Candi^K by Smoke. 

When a candle is burnt so long as to leave a tol- 
erably large wick, blow it out ; a dense smoke, 
which is composed of hydrogen and carbon, will 
immediately arise. Then, if another candle, or 
lighted taper, be applied to the utmost verge of 
this smoke, a very strange phenomenon will take 
place ; the flame of the lighted candle will be con- 
veyed to that just blown out, as if it were borne on 
a cloud, or, rather, it will seem like a mimic flash 
of lightning proceeding at a slow rate. 

The Magic Rk-ili.umination. 

After having exhibited the trick of lighting a can- 
dle by smoke, privately put a bit of paper between 
your fingers, and retire to one corner of the room 
with a single candle, and pass the hand in which 
you hold the paper several times slowly over the 
candle until the paper takes fire ; then immediately 
blow the candle out, and presently pass your hand 
over the snuff" and relight it with the paper. You 
may then crumple the paper, at the same time ex- 
tinguishing the flame, by squeezing it suddenly, 
without burning yourself. If this trick be per- 
formed dextrously, it is a very good one. It is not 
necessary for the performance of this trick that all 
the other lights in the room should be extin- 
guished ; in fact the trick is more liable to discov- 
ery in a dark room, than in one where the candles 
are burning, on account of the light thrown out by 
the paper while it is burning, previous to the re- 
illumination. 

Fascinated by a Feather. 

Take a bird and lay it on a table ; then wave a 
small feather over its eyes, and it will appear as 
dead, but taking the feather away, it will revive 



i82 HOW TO AMUSK. 

a^ain. Let it lay hold of the stem part of the 
feather, and it will twist and turn like a parrot ; 
you may likewise roll it about, on the table, just 
as you please. 

Thk Moving Bai^i,. 

Roll up a piece of paper, or other light sub- 
stance, and privately put into it any small insect, 
such as a lady-bird, or beetle ; then, as the creature 
will naturally endeavor to free itself from captivity, 
it will move its covering toward the edge of the 
table, and when it comes there, will immediately 
return, for fear of falling ; and thus, by moving 
backward and forward, will excite much diversion 
to those who are ignorant of the cause. 

Th^ Pape:r Furnack. 

Enclose a bullet in paper, as smoothly as pos- 
sible, and suspend it above the flame of a lamp or 
candle ; you will soon see it melt and fall, drop by 
drop, through a hole which it will make in the 
paper ; but the paper, except the hole mentioned, 
will not be burnt. The art of performing this trick 
consists in using a smooth round bullet, and en- 
closing it in the paper with but few folds or uneven 
places. 

Storm and Cai,m. 

Pour water into a glass until it is nearly three 
parts full ; then almost fill it up with oil ; but be 
sure to leave a little space between the oil and the 
top of the glass. Tie a bit of string round the 
glass, and fasten the two ends of another piece of 
string to it, one on each side, so that, when you 
take hold of the middle of it to lift up the glass, it 
may be about a foot from your hand. Now swing 
the glass to and fro, and the oil will be smooth and 
unruffled, while the surface of the water beneath 
it will be violently agitated. 



SIvEIGHT OF HAND. 183 

The Knotted Thread. 

A good deal of amusement may be occasioned by 
this trick. It is most frequently performed by a 
lady, but the effect of it is considerably increased 
when it is displayed by a boy. A piece of calico, 
muslin, or linen, is taken in the left hand, a needle 
is threaded in the presence of the spectators, and 
the usual, or even a double or treble knot made at 
the extremity of one of the ends of it. The op- 
erator commences his work by drawing the needle 
and the thread in it quite through the linen, not- 
withstanding the knot, and continues to make 
several stitches in like manner successively. The 
mode of performing this seeming wonder, is as 
follows : a bit of thread, about a quarter of a yard 
long, is turned once round the top of the middle 
finger of the right hand, upon which a thimble is 
then placed to keep it secure. This must be done 
privately and the thread kept concealed, while a 
needle is threaded with a bit of thread of a similar 
length. The thread in the needle must have one 
of its ends drawn up nearly close, and be concealed 
between the fore-finger and thumb ; the other 
should hang down nearly as long as, and by the 
side of the thread, which is fastened under the 
thimble, so that these two may appear to be the 
two ends of the thread. The end of the piece that 
is fastened under the thimble is then knotted, and 
the performer begins to sew, by moving his hand 
quickly after he has taken up the stitch. It will 
appear as though he actually passed the knotted 
thread through the cloth. 

The Imps of the Botti^e. 

Take three little hollow figures of glass, an inch 
and a half high, representing imps, which may be 
obtained at a glass-blowers, with a small hole in 



i84 HOW TO AMUSE). 

each of their legs. Submerge them in water in a 
glass bottle, which should be about fifteen inches 
high, and covered with a bladder tied over the top. 
A small quantity of air must be left between the 
bladder and the surface of the water. When you 
think fit to command the figures to go down, press 
your hand hard upon the top, and they will imme - 
diately sink ; when you would have them rise to 
the top, take your hand away, and they will float 
up. By these means, you may make them dance 
in the middle of the glass at your pleasure. 

The; Bird in Tun Box. 

Take a box made with a false lid, on which glue 
some bird-seed ; privately put a bird into it, under 
the false lid ; then show it, and it will seem to be 
full of seed. Put on the true lid, and say, — ^*I 
will command all the seed out of this box, and 
order a living bird to appear.'* Take off the covers 
together, and the bird will be seen. 

The Mui.tipi,ying Mirror. 

This must be performed with a looking-glass 
made on purpose ; the manner of making it is this ; 
— First, make a hoop, or fillet of wood or horn , 
about the size of a half-dollar in circumference, 
and about a quarter of an inch in thickness. In 
the middle, fasten a bottom of wood or brass, and 
bore in it several small holes, about the size of 
peas ; then open one side of this bottom, set in a 
piece of crystal-glass, and fasten it in the hoop 
close to the bottom. Take a quantity of quick- 
silver, and put as much into the hoop as will cover 
the bottom ; then let into it another piece of crys- 
tal-glass, fitted to it; cement the sides, that the 
quicksilver may not run out, and the apparatus is 
complete. One side will reflect the beholder's face 



SLE:iGHT of hand. i8s 

as a common looking-glass ; in the other it will be 
multiplied according to the number of holes in the 
wood or brass. 

The Hai,f-doi.i.ar Uphki^d. 

Privately cut the rim of the edge which is raised, 
to protect the face of a half-dollar, so that a little 
bit of the silver may stick up ; take the coin in your 
right hand, and by pressing it with your thumb 
against a door or wainscot, the bit that sticks up 
will enter the wood, and thus support the half- 
dollar. 

Thk Bowing Bkau. 

Make a figure, resembling a man, of any sub- 
stance, exceedingly light, such as the pith of the 
alder tree, which is soft, and can easily be cut into 
any form: then provide for it a hemispherical 
base, of some very heavy substance, such as the 
half of a leaden bullet, made very smooth on the 
convex part. Cement the figure to the plane part 
of the hemisphere ; and, in whatever position it is 
placed, when left to itself, it will rise upright. The 
figure of a beau, or master of the ceremonies, is- 
appropriate for this trick. 

The Vanishing Wafers. 

On each side of a table-knife, place, in the pres- 
ence of your company, three wafers. Take the 
knife by the handle, and turn it over two or three 
times, to show that the wafers are all on. Desire 
some person to take off one wafer from one side of 
the blade ; turn the knife two or three times again, 
and there will appear only two wafers on each side ; 
remove another wafer, turn the knife as before, and 
there will appear only one wafer on each side ; take 
the third wafer away, turn the knife as before twice 



k 



j86 how to amuse. 

or thrice, and there will appear to be no wafer on 
either side. After a momentary pause, turn the 
knife again two or three times, and three wafers will 
appear on each side. 

The secret of this capital trick consists in using 
i:vafers,of the same size and color, and turning the 
knife, so that the same side is constantly presented 
to the view, and the wafers are taken off that side, 
one by one. The three wafers will thus remain un- 
touched on the other side, so that when you have 
first made it appear that there are no wafers" on 
either side, you may, apparently, show three on 
each, by the same means. The way to turn the 
knife is as follows : when you lift it up, turn it in 
your hand, with your finger and thumb, completely 
round, until the side that was uppermost when you 
lifted it, comes uppermost again. This is done in 
an instant, and is not perceptible, if adroitly man- 
-aged. 

The Cut I^ac^ Joined. 

Conceal a piece of lace in your hand ; then pro- 
duce another piece of the same pattern ; double 
the latter, and put the fold between your fore-finger 
and thumb, with the piece which you have previ- 
ously concealed, doubled in the same manner; 
pull out a little of the latter, so as to make a loop, 
and desire one of the company to cut it asunder. 
If you have conveyed the concealed piece of lace 
so dexterously as to be undetected, wnth the other 
between your thumb and forefinger, the spectators 
will, naturally enough think you have really cut 
the latter ; which you may seem to make whole 
again, while repeating some conjuring words, and 
putting away the two ends of the piece that is act- 
Ttally cut. 

Vanishing Dime. 

Stick a little wax upon your thumb, take a by- 
stander by the fingers, show him a dime, and tell 



SLEIGHT OF HAND. 187 

him you will put the same into his hand ; then 
wring it down hard with your waxed thumb, and, 
using many words, look him in the face ; suddenly 
take away your thumb, and the coin will adhere to 
it ; then close his hand ; it will seem to him 
that the dime remains ; now tell him to open his 
hand, and, if you perform the feat cleverly, to his 
great astonishment, he will find nothing in it. 

The Adhesive: Stick. 

This feat has astonished crowds of spectators. 
It w^as one of the favorites of a late popular pro^ 
fessor, and is now first promulgated. Before you 
perform it in public, you must practice it, until 
you are quite perfect, in private, for it would be a 
pity to spoil its effect by making a blunder in it. 
Begin by stating very seriously, what is a well- 
known fact, that if a bucket full of water be hurled 
round his head by a man, who is sufiiciently strong, 
none of the water will fall out. If this be at all 
discredited, be prepared not only to support your 
assertion, but to carry the point still further by 
placing a tumbler full of any liquid in the inside 
of a broad hoop, which you hold in your hand by 
a small piece of string fixed to it, and twirling it 
round at your side. If you do this with velocity, 
although the tumbler, in the circles made by the 
hoop, is frequently quite bottom upward, it will 
neither fall from the hoop, nor will any of the 
water be spilt. To do this, however, requires even 
more practice than the trick which it prefaces ; as, 
although there is no difficulty in it while the hoop 
is in rapid motion, yet there is some danger until 
you are rendered expert by practice, of the tum- 
bler's falling, when you begin to put the hoop in 
motion, and when you wish to stop it. If, there- 
fore, you are not perfectly capable of doing it, state 
the fact only, which some or other of j^our auditors 



1^8 HOW TO AMUSE. 

will most probably support, as it is pretty generally 
known. You now go on to say, that the air, under 
the water in the glass, when it is topsy-turvey, 
keeps it in ; and that upon the same principle, if 
you can turn your hand, upon which you place a 
piece of thin wood (about one inch broad, and six 
inches long), sufficiently quick, although the back 
be uppermost, the air will actually keep the wood 
up against the palm of your hand, without any 
support. This they will be readily inclined to be- 
lieve. They will, however, doubt your being pos- 
sessed of sufficient manual dexterity to perform it 
quick enough. 

We must now tell you how it is to be done : — 
I^ay the piece of wood across the palm of your left 
hand, which keep wide open, with the thumb and 
all the fingers far apart, lest you be suspected of 
supporting the wood with them. Next, take your 
left wrist in your right hand, and grasp it 
tightly, for the purpose, as you state, of giving the 
hand more steadiness. Now, suddenly turn the 
back of your left hand uppermost, and, as your 
wrist moves in your right hand, stretch out the 
forefinger of your right hand, and as soon as the 
wood comes undermost, support it with such fore- 
finger. You may now shake the hand, and, after 
a moment or two, suffer the wood to drop. It is 
two to one but the spectators will admit it to be 
produced by the action of the air, as you had pre- 
viously stated, and try to do it themselves ; but, 
of course, they must, unless you have performed 
the feat so awkwardly as to be discovered, fail in its 
performance. If you have no objection to reveal 
the secret, you can do it again, and, while they are 
gravely philosophizing upon it, suddenly lift up 
your hand and expose the trick. This will, 
doubtless, create much amusement. Observe that 
in doing this feat, you must keep your finders 
so low, that no one can see the palm of your left 



SLEIGHT OF HAND. 189 

hand ; and move your finger so carefully, that its 
action may not be detected ; and if it be not, you 
may rest satisfied that its absence from round the 
wrist of the left hand will not be discovered, some 
of the fingers being naturally supposed to be under 
the coat ; so that, if the spectators only see two or 
even one, they will imagine the others are beneath 
the cuflf. There is one other observation necessary 
before we conclude ; it is this, when you have 
turned your hand over, do not keep the stick too 
long upheld, lest the spectators should take hold 
of your hands, and discover the trick ; before their 
astonishment has ceased, adroitly remove your 
forefinger, and suffer the stick to fall to the 
ground. 

The Magic Thread. 

Take two pieces of thread, one foot in length 
each ; roll one of them round, like a small pea, 
which put between your left forefinger and thumb. 
Now, hold the other out at length, between the 
forefinger and thumb of each hand ; then let some 
one cut the same asunder in the middle ; when 
that is done, put the tops of your two thumbs to- 
gether, so that you may, with less suspicion, 
receive the thread which you hold in your right 
hand into your left, without opening your left 
finger and thumb. Then, holding these two pieces 
as you did before, let them be cut asunder in the 
middle also, and conveyed again as before, until 
they be very short ; then roll all the ends together, 
and keep that ball of thread before the other in the 
left hand, and with a knife, thrust the same into a 
candle, where you may hold it until it be burnt to 
ashes ; pull back the knife with your right hand, 
and leave the ashes, with the other ball, between 
your forefinger and thumb of your left hand, and 
with the two thumbs and forefingers together, 
rub the ashes, and at length, draw out that thread 



I90 HOW TO AMUSE. 

which has been all this time between your fore- 
finger and thumb. 

Th^ Long Pudding. 

The following is a famous feat among those 
mountebanks who travel the country with quack 
doctors. This pudding must be made of twelve or 
thirteen little tin hoops, so as to fall one through 
another, and little holes should be made at the 
biggest end, so that it may not hurt your mouth ; 
hold it privately in your left hand, with the hole 
end uppermost, and, with your right hand, take a 
ball out of your pocket, and say, * * if there be any 
old lady that is out of conceit with herself, because 
her neighbors deem her not so young as she would 
be thought, let her come to me, for this ball is a 
certain remedy ; '* then seem to put the ball into 
your left hand, but let it slip into your lap, and 
clap your pudding into your mouth, which will be 
thought to be the ball that you showed them ; 
then decline your head, open your mouth, and the 
pudding will slip down to its full length ; with 
your right hand you may strike it into your 
mouth again ; after having done this three or four 
times, you may discharge it into your hand, and 
put it into your pocket without any suspicion, by 
making three or four wry faces after it, as though 
it had been too large for your throat. 

Thk Changisabi^e: Watch. 

Borrow a watch from any person in company, 
and request the whole to stand round you. Hold 
the watch up to the ear of the first in the circle, 
and command it to go ; then demand his testi- 
mony to the fact. Remove it to the ear of the 
next, and enjoin it to stop ; make the same re- 
quest to that person, and so on throughout the 
entire party. 



SLKIGHT OF HAND. 19I 

Explanation, You must take care, iti borrowing; 
the watch, that it be a good one, and goes well. 
Conceal in your hand a piece of loadstone which, 
so soon as you apply it to the watch, will occasion 
a suspension of the movements, which a subse- 
quent shaking and withdrawing of the magnet: 
will restore. For this purpose, keep the magnet 
in one hand and shift the watch alternately from> 
one hand to the other. 

The Vanishing Ring. 

You may cause a ring to shift from one hand to 
another, and make it go on any finger required on 
the other hand, while somebody holds both your 
arms, in order to prevent communication between 
them by attending to these instructions : — Desire- 
some lady in company to lend you a gold ring, 
recommending her, at the same time, to make a 
mark on it, that she may know it again. Have a 
gold ring of your own, which fasten by a small 
piece of catgut-string, to a watch-barrel, and sew 
it to the left sleeve of your coat. Take the ring 
that is given you in your right hand ; then putting, 
with dexterity, the other ring fastened to the 
watch barrel, near the entrance of your sleeve, 
draw it privately to the fingers^ ends of your left, 
hand. During this operation, hide the ring that 
has been lent to you between the fingers of your 
right hand, and fasten it dexterously on a little 
hook, sewed for the purpose, on your waistcoat, 
and hidden by your coat. After that show your 
ring, which hold in your left hand ; then ask the 
company on which finger of the other hand they 
wish it to pass. During this interval, and as soon 
as the answer has been given, put the before- 
mentioned finger on the little hook, in order ta 
slip the ring on it ; at that moment let go the other 
ring, by opening your fingers. The spring which. 



192 HOW TO AMUSI^. 

is in the watch-barrel, being confined no longer, 
will contract, and make the ring slip under the 
sleeve, without anybody perceiving it, not even 
those who hold your arms ; as their attention will 
be occupied to prevent your hands from communi- 
cating. After this operation, show the assembly 
that the ring is come on the other hand ; and make 
them remark that it is the same that had been lent 
to you, or that the mark is right. Much dexterity 
must be made use of to succeed in this entertaining 
trick, that the deception may not be suspected. 

The: HANDKKRCHiKif Trick. 

This feat, strange as it appears, is very simple ; 
the performer must have a confederate, who has 
two handkerchiefs of the same quality, and with 
the same mark, one of which he throws upon the 
table, to perform the feat with. The performer 
takes care to put this handkerchief uppermost in 
making a bundle, though he affects to mix them 
together promiscuously. The person, whom he 
desires to draw one of the handkerchiefs, naturally 
takes that which comes first to hand. The per- 
former then desires to shake them again to embel- 
lish the operation ; but in so doing, takes care to 
bring the right handkerchief uppermost, and care- 
fully fixes upon sorne simpleton to draw ; and if 
he find the person is not likely to take the first 
that comes to hand, he prevents him from drawing 
by fixing upon another, under pretence of his 
having a more sagacious look. When the hand- 
kerchief is torn, and carefully folded up, it is put 
under a glass upon a table placed near a partition. 
On that part of the table on which the handker- 
chief is deposited, is a little trap, which opens and 
lets it fall into a drawer. The confederate, con- 
cealed behind the curtain, passes his hand under 
the table, opens the trap, and substitutes the second 



SLEIGHT OF HAND. ^9^ 

handkerchief for the first. He then shuts the trap, 
which so exactly fits the hole it closes, as to de- 
ceive the eyes of the most incredulous. If the per- 
former be not possessed of such a table, he must 
have a second handkerchief in his pocket, and 
change it by sleight of hand. 

The Canary in the Egg. 

Separate an egg in the middle, as neatly as pos- 
sible ; empty it, and then with a fine piece of paper 
and a little glue, join the two halves together, 
having first put a live canary bird inside it, which 
will continue unhurt in it for sometime, provided 
you make a small pin-hole in the shell to supply 
the bird with air ; have also, a whole egg in read- 
iness. Present the two eggs for one to be chosen ; 
put the eggy which contains the bird, next to the 
person who is to choose, and, for this purpose, be 
sure to select a lady ; she naturally chooses the 
nearest to her, because, having no idea of the trick 
to be performed, there is no apparent reason to 
take the further one at any rate, if the wrong one 
be taken, you do not fail in the trick, for you break 
the egg, and say : ** You see that this egg is fair 
and fresh, madam, so you would have found the 
other, if you had chosen it. Now, do you choose 
to find in it a mouse, or a canary-bird ? " She nat- 
urally declares for the bird ; nevertheless, if she 
ask for the mouse, there are means to escape : you 
ask the same question of several ladies, and gather 
the majority of votes, which, in all probability, 
will be in favor of the bird, which you then 
produce. 

The Money Box Trick. 

A piece of money, or a ring, is put into a box, 
in the presence of a person who holds it ; the oper- 
ator stands at a distance, and bids him shake the 



194 HOW TO AMUSK. 

box gently, and the piece is heard to rattle insie.5- : 
he is desired again to shake it, and then it is not 
heard to rattle ; the third time, it is again heard, 
but the fourth time it is gone, and is found in the 
shoe of one of the company. The box must be 
made on purpose, in such a manner that, m shak- 
ing it gently up and down, the piece withm is 
heard ; on the contrary, shaking it hard, horizon- 
tally, a little spring, which falls on the piece, pre- 
vents it from being heard, which makes you 
imagine it is not within. He who performs the 
trick, then touches the box, under pretence of 
showing how to shake it, and, although it is locked 
he easily gets out the piece by means of a secret 
opening, availing himself of that minute to put in 
a false piece, and to leave the box with the same 
person, whom he causes to believe that the piece 
IS or is not within, accqrding to the manner the 
box is shaken: at length, the original piece is 
found in the shoe of one of the company, either 
by means of the person being found in conted- 
eracy, and having a similar piece, or by sendmg 
another to slip it on the floor. In this last case, it 
is found on the floor, and the person fixed on is 
persuaded that it fell from his shoe as he was 
taking it ofif. 

A STARTI^ING Mj^Tamorphosis. 

Take a few nut-galls, bruise them to a very fine 
powder, which strew nicely upon a towel ; then 
put a little brown copperas into a basin of water ; 
this will soon dissolve, and leave the water per- 
fectly transparent. After any person has washed 
in this water, and wiped with the towel on which 
the galls have been strewn, his hands and face 
will immediately become black ; but, in a few days, 
by washing with soap, they will again become 
clean. This trick is too mischievous for per- 
formance. 



ei^KIGHT OF HAiqrjJ. 195 

A V01.CAN0 Under Water. 

Take one ounce of saltpetre ; three ounces of 
powder ; of sulphurvivuix, three ounces ; beat, 
sift, and mix them well together ; fill a pasteboard, 
or paper mould, with the composition, and it will 
burn tinder the water till quite spent. Few persons 
will believe that this can be done before they have 
seen it tried. 

The Magic Spoon. 

Put four ounces of bismuth into a crucible, and 
when in a state of complete fusion, throw in two 
ounces and a half of lead, and one ounce and a 
half of tin ; these metals will combine, and form 
an alloy fusible in boiling water. Mould the alloy 
into bars, and take them to a silversmith to be 
made into tea-spoons. Place one of them in a 
saucer, at a tea-table, and the person who uses it 
will not be a little astonished to find it melt away 
as soon as he puts it into the hot tea. 

Magic Dyes. 

Dissolve indigo in diluted sulphuric acid, and 
add to it an equal quantity of solution of carbonate 
of potass. If a piece of white cloth be dipped in 
this mixture, it will be changed to blue ; yellow 
cloth, in the same mixture, may be changed to 
green ; red to purple ; and blue litmus paper be 
turned to red. 

INCOMBUSTIBI^E PAPER. 

Dip a sheet of paper in strong alum-water, and 
•when dry, repeat the process ; it will be better 
Sftill, if you dip and dry it a third time. After this, 
you may put it in the flame of a candle, and it will 
not burn. 



196 HOW TO AMUSE. 

VlSIBI<K AND InVISIBIv^ PORTRAITS 

These are performed with French chalk, a nat- 
ural production of the earth, (sold in most oil- 
shops,) of a greasy, but extraordinary nature. It 
is made use of to draw portraits upon looking- 
glasses ; which may be made visible and invisible, 
alternately, by breathing on and wiping off, and 
they will so continue for many months. The lines 
will appear very distinct where the glass is strongly 
breathed on, and disappear entirely when it is 
wiped dry again. 

Th^ Dancing Kgg. 

Boil an egg hard, and peel off a small piece of the 
shell at one end ; then thrust in a quill filled with 
quicksilver, and sealed at each end. As long as 
the egg remains warm, it will not cease to dance 
about. 

To Put an Kgg in a Botti^k. 

You may make an egg enter a bottle without 
breaking, by steeping it in strong vinegar for 
some time ; the vinegar will so soften the shell, that 
it will bend and extend lengthways without break- 
ing ; when put in cold water, it will resume its 
former figure and hardness. 

The Ice Candi^e. 

Cover a small portion of the upper end of a tallow 
candle with paper, and give the remainder of it a 
coat of fine coal and powdered sulphur, mixed 
together ; dip it in water, and expose it to the air 
during a hard frost, and a slight coat of ice will 
form round it, which may be, subsequently, ren- 
dered thicker, in proportion to the number of 
immersions and exposure to the air which it re- 



SLEIGHT OF HAND. 197 

ceivea. When it arrives at a sufficient consistency, 
take off the paper, light the upper end of the candle, 
and it will burn freely. 

Thi5 Changing-Coi^orkd Ribbon. 

Dip a rose-colored ribbon in nitric acid, diluted 
with eight or ten parts of water, and as soon as the 
color disappears, which it will do in a short time, 
take out the ribbon, and put it into a very weak 
alkaline solution ; the alkali will quickly neutralize 
the acid, and the color will then reappear. 

Consuming th^ Oraci^e. 

Some amusement may be obtained among young 
people, by writing, with common ink, a variety of 
questions, on dijBferent bits of paper, and adding a 
pertinent reply to each, written with nitro-muriate 
of gold. The collection is suffered to dry, and put 
aside until an opportunity offers for using them. 
When produced, the answers will be invisible ; you 
desire different persons to select such questions as 
fthey may fancy, and take them home with them ; 
fou then promise, that if they are placed near the 
fire, during the night, answers will appear written 
beneath the questions in the morning ; and such 
will be the fact, if the papers be put in any dry, 
warm situation. 

The Witch's Cave. 

Write several questions and answers on paper ; 
for the answers, instead of nitro-muriate of gold, 
you may use the juice of a citron, or an onion. I^et 
any of the questions be chosen by a party, and 
placed in a box, which maybe called ** The Witch's 
Cave.'* This box must be furnished with a piece 
of hot iron, beneath a false bottom of tin ; when 



198 HOW TO AMUSE. 

the paper is put in i^, the heat will cause the answer 
to appear; you then take it out, show it to the 
person who made choice of the question, and, as 
soon as it is read, put it aside ; the answer will 
vanish when the paper becomes cold again. 

Th:^ Four Ei^i^mknts. 

Take a glass tube, about the thickness of a man's 
finger, and securely seal one end of it. Mark it, all 
round, with four equal divisions. Introduce mer- 
cury, sufficient to fill the space below the first mark ; 
a solution of sub-carbonate of potass for the second 
division ; white spirit, to which a blue tint is im- 
parted?, for the third; and turpentine, colored red, 
for the fourth. After these preparations are com- 
pleted, close up and seal the mouth of the tube, and 
you may then give a fanciful exhibition of chaos 
and the foui elements. Shake the tube, and you 
will mix all the contents together, and this mixture 
will represent chaos ; in a short time, if the tube 
be not removed, all the ingredients will separate, 
and each go to its allotted division, placing itself 
according to its specific gravity, in comparison with 
the others ; the contents of the upper division, 
which is red, will represent fire ; the next, which 
has a blue tint, air ; the third, which is colorless, 
water ; and the lower one, earth. 

Phosphoric Oyster Shei*i<s. 

Take some very thick oyster shells, and cover 
them with some burning coals; in half an hour 
take them carefiiUy out of the fire, and it will be 
only necessary to expose them to the light for a few 
minutes to be convinced that they have become 
phosphorescent. In fact, if put in a dark place, 
they shed a light accompanied by the greater part 
of the prismatic colors. If the calcination be 



SLEIGHT OF HAND. 199 

made in a closed crucible, the colors will be lesp 
brilliant. If the crucible be of lead, the parts that 
have come into contact with it will yield a reddish 
light ; if a few bits of steel be strewed about the 
crucible, the phosphorescence will be more lively ; 
but if some flat pieces of coal be used instead of 
steel, the colors will be more beautiful, particularly 
the blue, red, and green. 

F1.AMING Phosphorus. 

By compressing a bit of phosphorus between two 
pieces of wood, it will inflame. The same effect 
may be produced by the friction of one piece of 
phosphorus against another. 

A Mask of Fi.amk. 

Take six parts of oil of olives and one of phos- 
phorus, suffer them to digest well together, and 
preserve the solution, which, in the dark, will be- 
come luminous. An experiment that is considered 
amusing may be performed by closing the eyes and 
lightly passing a sponge, dipped in this solution, 
over the face and hands, which will then, in the 
dark, appear covered with a light bluish flame. 
This trick is not at all dangerous. 

A Miniatured River on Fire. 

Let fall a few drops of phosphorized ether on a 
lump of loaf sugar, place the sugar in a glass of 
warm water, and a very beautiful appearance will 
be instantly exhibited ; the effect will be increased, 
if the surface of the water, by blowing gently with 
the breath, be made to undulate. 

The I1.1.UMINATOR AND Extinguisher. 

Make two little figures of wood or clay, or other 
materials, with a little hole in the mouth of each. 



200 HOW TO AMUSJ^. 

Put in the mouth of one, a few grains of bruised 
gunpowder, and a little bit of phosphorus in the 
other. Then take a lighted wax candle, and present 
it to the mouth of the figure with the gunpowder, 
which, taking fire, will put the candle out; then 
present your candle, having the snuff quite not, to 
the other figure, and it will light again immedi- 
ately. 

To IvIGHT A CaNDI,^ by A Gl^ASS OF WaTE^R. 

Take a little piece of phosphorus, of the size of 
a pin's head, and with a piece of tallow, stick it on 
the edge of a drinking-glass. Then take a lighted 
candle, and having blown it out, apply it to the 
glass, when it will immediately be lighted. You 
may likewise write, with a bit of phosphorus, on 
paper, some words, which will appear awful, when 
the candle is withdrawn from the room. 



PUNCH AND JUDY. 20I 



PUNCH AND JUDY. 

This famous puppet-show can easily be arranged 
for the parlor. The first requirement of the per- 
formance will naturally be the dramatis personcB. 
These, in the drama as usually played, are as 
follows : — 

I. Punch. 2. Judy. 3. The Baby. 4. The Dog 
Toby. 5. The Clown. 6. The Policeman (or 
Beadle). 7. The Hangman. 8. The Doctor. 9. The 
Ghost. The head for each character must be carved 
out of wood, with a tubular cavity in the neck 
large enough to admit the first joint of the per- 
former's forefinger. Wooden arms and legs must 
next be prepared. These need only extend to the 
elbow and knee, and the Baby will require arras 
only. Appropriate costumes must next be manu- 
factured. Mr. Punch will have the usual conical 
hat, and Judy a frilled cap and black ribbons. The 
body of each figure is a mere bag, just large enough 
to admit, through an opening behind, the hand of 
the performer, whose forefinger is thrust into the 
hollow of the neck, and the thumb and second fin- 
ger into the sleeves, thereby giving motion to the 
arms. 

The robes of the various characters are firmly at- 
tached to the respective heads, and the arms glued 
just within the lower part of the sleeves. By slipping 
his hand, therefore within the robe, his forefinger 
being inserted into the hole in the neck, and his 
thumb and middle finger into the sleeves, as above 
mentioned, the performer not only keeps the robe 
properly distended, but is able to impart the requi- 
site appearance of vitality to the figures. 

Having described the characters, it next becomes 



202 HOW TO AMUSE. 

necessary to say a few words as to tlie '* stage '• 
whereon they perform. Most of our readers will 
be familiar with the portable theatre of the genuine 
street artists ; a sentry-box-like wooden framework 
with a green baize cover, within which the per- 
former stands, while a movable shelf in front of 
him supports the box which contains the puppets 
and other ** properties" of the mimic drama. A 
little simple stage-carpentering will transform the 
domestic clothes-horse into a capital Punch-and* 
Judy theatre. Some sort of ornamental framework 
or border should be tacked all round the outer 
edge of the opening, by way of a kind of prosce- 
nium, and a slip of thin board, three or four inches 
in width, should be nailed horizontally across from 
side to side, to form the stage. The remainder 
should be covered with green baize, tammy, or 
any other available material, reaching to the 
ground. The structure should be placed against 
a wall or window curtain, which will close its 
vacant side, and form a convenient background. 

Where even this simple arrangement is deemed 
too elaborate, an open door, with a slip of wood 
tacked across it about six feet from the floor, and a 
table cover hanging from this by way of curtain, 
will serve as a tolerable makeshift. 

The ** properties " of the drama are not numer- 
ous. They consist of a gallows or gibbet, made 
to fit, when in use, into a mortice cut into the piece 
of wood which forms the stage, a couple of wooden 
sticks, about a foot in length and half an inch in 
diameter, and an instrument known as the 
** squeaker,'* which is said to be used to produce 
those peculiar vocal effects in which Mr. Punch 
delights. It consists of a couple of pieces of tin, 
each about an inch and a quarter in length, and 
three quarters in breadth. These, which are 
slightly curved in the direction of their length, are 
laid one against the other (the concave faces in- 



PUNCH AND JUDY. 203 

ward), with a piece of tape or China ribbon, of the 
same breadth, stretched tightly between them, and 
the whole bound firmly together with thread. This 
instrument is placed in the mouth, and is asserted 
to produce the Root-i-too-ti-too ! and other eccen- 
tricities of the Punch language, and it is possible 
that in the hands (or rather the mouths) of those 
who cultivate the art professionally, it really does 
so. We must confess, however, that our own at- 
tempts in that direction have not been successful, 
and after several very narrow escapes of swallowing 
the instrument, we have come to the conclusion 
that a less perfect Root-i-too, produced by natural 
means, is on the whole to be preferred. Should 
any reader, after this warning, still be disposed to 
run the risk of choking himself in the pursuit of 
artistic effect, far be it from us to discourage his 
noble ardor. 

It is customary to have a second or assistant 
showman, who stands outside the theatre, and 
forms the orchestra, for which purpose he is sup- 
plied with a set of Pandean pipes and a drum, or, 
for lack of these, with the best substitutes avail- 
able. In a drawing room, some obliging young 
lady at the piano-forte will generally render the 
performance independent of his musical aid. But he 
has a second function somewhat akin to that of the 
** Chorus" of a Greek play. His duty is to converse 
with Mr. Punch, to **draw him out,'' to elicit his 
views on things in general, and his own domestic 
arrangements in particular, and last, but not 
least, by judicious repetition, in the form of ques- 
tions or otherwise, to translate, so to speak, his 
observations to the audience. 

The drama of Punch and Judy is based on tra- 
dition. The plot is pretty much the same in all 
cases, but the dialogue varies according to the taste 
and invention of the individual performer. We 
subjoin a specimen, representing pretty nearly the 



204 HOW TO AMUSE. 

popular version, on which the reader may engraft 
such variations as he pleases. 

Punch (heard below). — Roo-it-oot-i-too-it ! 

Showman. — Good morning, Mr. Punch. 

Punch. — Good morning, Mr. Showman. Have 
you seen my Judy ? 

Showman. — Have I seen your Judy ? No, sir, I 
don't know the lady. 

Punch. — She' s such a beauty ! I'll call her. Judy, 
my dear ! Judy ! 

Enter Judy. 

Judy. — Well, Mr. Punch, what do you want ! 

Punch. — Why, I want to give you a kiss, to be 
sure. (They embrace, then dance.) 

Punch. — Now Judy, my dear, go and fetch the 
baby. (Exit Judy.) Such a beautiful baby ! Just 
like me ! 

Showman. — Just like you, is he? Then he must 
be a beauty ! 

Punch. — Oh, here he is ! Dance a bady-diddy \ 
(Judy appears with baby, which she hands to Punch, 
and exit.) 

Punch. — There's a little popsy-wopsy ! (Nurses 
baby and sings), 

" Hush-a-bye, baby, 

On the tree-top ; 
When the wind blows 

The cradle will rock ; 
When the wind ceases 

The cradle will fall, 
Down will come cradle 

And baby and all." 

(Baby cries, Punch slaps it and continues^ — 
** Hush-a-bye,baby, 

Sleep while you can ; 
If you live till you're older, 
You'll grow up a man." 



PUNCH AND JUDY. 205 

Oh, you little duck 1 There never was such a good 
child. 

Master Punch (cries). — Mam-ma-a-a ! 

Punch (knocking the Baby's head against the 
wall). — Go to sleep, you naughty boy ! (Resumes 
his song.) 

" Hush-a-bye, baby " 

Master Punch (louder). — Mam-ma-a-a -a ! 

Punch (hitting harder). — Hush-a-bye ! 

Master Punch (yells). — Ya-a-a-ah-ah ! 

Punch (hitting him) . — Be quiet, can't you ? Bless 
him, he's got his father's nose ! (The child seizes 
Punch by the nose.) Murder ! Let go ! There ! go 
to your mother, then. (Throws Master Punch into 
interior of show, calls, *^Judy, my dear 1 Judy!" 
then sings) — 

" She's all my fancy painted her. 
She's lovely, she's divine." 

Enter Judy. 

Judy. — Where's the baby ? 

Punch.— The baby ? 

Judy. — Yes. 

Punch. — What ! did you not catch him ? 

Judy. — Catch him ? 

Punch. — Yes ; I threw him out of window. I 
thought you might be passing. 

Judy. — Oh, my poor child ! * 

Punch. — Why, he was as much mine as yours. 

Judy. — Oh, you cruel monster ! I'll tear your ^ 
eyes out ! 

Punch.— Root-to-to-to-too-it ! (They fight. Ulti- 
mately Punch ducks down, and brings up stick, 
and, after a further scrimmage, hits Judy on the 
head and kills her. The body remains hanging 
over front of stage. Punch dances.) 



2o6 HOW TO AMUSE. 

Policeman (brandishing his staff). — Hull©! 
hullo ! hullo ! Here I am ! 

Punch. — Hullo ! hullo ! hullo ! And so am I ! 
(Whacks policeman over the head.) 

Policeman. — Do you see my staff, sir ? 

Punch. — Do you feel mine, sir ? (Hits him again.) 

Policeman. — No nonsense, Mr. Punch ! You 
have committed murder, and you must answer for 
it to the laws of your country. 

Punch. — We don't keep it. 

Policeman. — No nonsense, Mr. Punch ! I am a 
Policeman. 

Punch. — And so am I ! 

Policeman. — You a Policeman ? 

Punch. — Yes. 

Policeman. — Where's 5^ our authority ? 

Punch. — There it is ! (Knocks him down.] 

Policeman (rising). — Mr. Punch, 5^ou are an ugly, 
ill-mannered fellow ! 

Punch. — You're another ! 

Policeman. — Take your nose away from my face, 
sir! 

Punch. — Take your face away from my nose, sir ! 

Policeman. — Pooh ! 

Punch. — Pooh ! (Hits Policeman again.) 

Policeman. — You have committed an aggravated 
assault and contempt of court, and I am under the 
painful necessity of taking you up. 

Punch. — And I am under the painful necessity 
of knocking you down. (Kills him with a blow 
of his stick.) 

Punch (dancing). — Root-to- to- to- too-it ! 

Showman. — Hullo, Mr. Punch, you've done it 
now ! 

Punch. — Oh yes, I've done it ! What a day we 
are having ! (Dances again.) 

(Mysterious music. The Ghost rises and places 
its hands upon the bodies of Punch's victims. The 
bodies rise slowly and disappear. ) 



PUNCH AND JUDY. 207 

Panch (sings). — 

" Rum-ti-um-ti-iddity-um, 
Pop goes " 

Ghost. — Boo-o-o-o-oh ! 

Punch. — A-a-a-ah ! (He throws up his hands and 
kicks wildly. ) 

Ghost. — Boo-o-o-o-oh ! 

Punch. — Oh, dear ! oh, dear ! It wasn't me I 

Ghost (points at Punch). — Boo-o-o-o-oh ! (Punch 
faints. The Ghost sinks. ) 

Punch. — Oh, dear ! I'm a dead man ; somebody 
fetch a doctor. 

Knter Doctor. 

Doctor. — Who wants the doctor? Why, I de- 
clare, it is my old friend Punch. What's the mat- 
ter with him, I wonder? (Feels the patient's 
pulse. ) Fifteen — sixteen— eleven — nineteen — six. 
I don't believe he's quite dead, though. Punch, 
are you dead ? 

Punch (starting up and hitting him). — Yes, quite 
dead. Please bring me to life again. 

Doctor. — Where are you hurt ? (Examines him. 
When he reaches the legs Punch kicks him in the 
eye.) Oh, my eye, my eye ! I must go and fetch 
you some physic. [Exit. 

Punch. — A pretty sort of doctor, to come with- 
out any physic ! 

Re-enter Doctor with stick. 

Doctor. — Now, Mr. Punch, we'll soon see 
"whether you are dead? (Beating him.) Physic ! 
physic ! physic ! 

Punch. — What sort of physic do you call that. 
Doctor ? 

Doctor. — Stick-licorice ! stick-licorice ! stick- 
licorice ! (Repeats the dose.) 

Punch. — Stop a bit J Give me the bottle in my 



2o8 HOW TO AMUSK. 

own hands. (Takes stick from the Doctor, and 
thrashes him with it.) Physic ! physic ! physic ! 

Doctor.— Oh ! 

Punch. — Don^t you like your own physic ? (Hit- 
ting him again.) Stick- licorice ! stick-licorice ! 
stick-licorice ! 

Doctor. — For goodness' sake, Punch, pay me my 
fee, and let me go ! 

Punch. — What is your fee ? (lyays down stick.) 

Doctor. — A five pound note. 

Punch. — Give me the change out of a twopenny- 
halfpenny postage stamp. 

Doctor. — I want five pounds. 

Punch. — Let me feel for my purse. (Takes up 
the stick and hits Doctor.) One! two! three! 
four ! five ! (Delivers five blows, and Doctor falls 
lifeless.) The bill's settled, and so is the doctor. 
Root-to-to-to-too-it ! (Sings and dances.) 

Enter Joey, the Clown. 

Joey.— -Hullo, Mr. Punch ! (Disappears again.) 
Punch. — Who called me? (Looks round, and 
seeing no one, resumes his song.) 

*' I dreamt that I dwelt in marble halls. 
With vassals and serfs at my si-i-ide ** 

(Joey rises, and taking up the dead body of the 
Doctor, bobs its head in Punch's face.) 

Joey. — Boo ! 

Punch. — Who said '' Boo ? " 

Joey (pushing Doctor into his face again). — Boo ! 
boo ! boo ! 

Punch. — Boo ! boo ! boo ! (Knocks Doctor out 
of sight, and discovers Clown.) Ah, Joey! was 
that you ? 

Joey — No, it was I. 

Punch. — Well, don't do it again, because I'm 
nervous. Come and feel how my hand shakes. 



PUNCH AND JUDY. 209 

(Clown approaches. Punch tries to hit him, but 
he ducks and avoids the blow.) Come a little 
nearer ; I won't hurt you. (Joey again approaches 
Punch, and again avoids the blow intended for 
him.) There ! it didn't hurt jou, did it ? 

Joey. — No. 

Punch. — Nor that ? (Makes another failure.) 

Joey. — No- 

Punch. — Nor that ? 

Joey. — Not a bit. 

Punch. — Then what are you afraid of? Come 
and shake hands. (Joey approaches, but has to 
duck down as before, to avoid a blow which Punch 
makes at his head.) Joey, you're a coward ! 

Joey. — Come on, then. 

(Music. Terrific combat between Punch and 
Clown. The Clown dodges all Punch's blows, and 
after bobbing up and down in ever}^ direction, sud- 
denly appears behind Punch.) 

Joey. — Hullo, Punch ! (Disappears.) 

Punch. — Where are you, Joey? 

Joey (appearing behind Punch). — Here I am. 
{Disappears again.) 

Punch. — I see you. (Peeps round cautiously and 
comes into collision with Joey. Both start back. 
Punch lays down his stick and peeps cautiously 
round the curtains.) I've got him now ! 

Joey (rising behind him and seizing stick). — 
And how do you like him ? (Cudgels Punch.) 

Punch. — Murder! fire! thieves! Toby, come 
and help your master I (Toby barks below. Kxit 
Clown.) 

Knter Toby. 

Punch. — Good doggy ! I knew you'd come to 
help your master. Poor little Toby ! (Rubs his 
head against the dog's face.) Ain't you fond of 
your master ? (Toby snaps. ) Oh, my nose ! Now, 



2IO HOW TO AMUSE. 

be a good dog, and you shall have a pail of watei 
and a broomstick for supper. (Toby snaps again.) 
Be quiet, sir, or I'll knock your brains out ! (Toby 
barks, and Punch attempts to strike him, but at 
the same instant Joey rises again.) 

Joey. — Hullo! Why, that's my dog Toby. Toby, 
old fellow, how are you? (Toby barks.) 

Punch. — He isn't your dog. 

Joey. — Yes, he is ! 

Punch. — No, he isn't ! 

Joey. — He is, I tell you! A fortnight ago I lost him. 

Punch. — And a fortnight ago I found him. 

Joey. — We'll soon settle which of us the dog be- 
longs to, Mr. Punch. We'll fight for him. (Ducks 
down and comes up with a stick.) Now don't you 
begin till I say *'Time." (Punch knocks Joey 
down.) Mr. Punch, that wasn't fair." 

Punch. — Why, you said **Time." 

Joey. — I didn't. 

Punch. — What did you say, then? 

Joey. — I said, ** Don't you begin till I say 
'Time.'" 

Punch (knocking him down again). — There ! 
you said it again. 

Joey. — Toby, assist your master. (Toby flies at 
Punch.) 

Punch. — It isn't fair ; he didn't say *' Time." 

Joey. — At him again, Toby ! (Toby barks, and 
Clown thrashes Punch.) 

Punch. — Murder ! call him off ! 

Joey. — Oh, you've had enough have you ? Very 
well. Come along, Toby ! (Exit with Toby.) 

Punch (calling after them). — I wouldn't have 
him at a gift ; he's got the distemper ! Root-to-to- 
to-too-it ! 

Enter Hangman with gallows. 

Hangman. — Mr. Punch, you are my prisoner. 
Punch.-— What for? 



PUNCH AND JUDY. 211 

Hangman — For having broken the laws of your 
country. 

Punch. — Why, I never touched them. 

Hangman. — At any rate you are to be hanged. 

Punch. — But I never was tried and condemned. 

Hangman. — Never mind ! We'll hang you first 
and try you afterward. 

Punch. — Hanged? Oh, dear ! oh, dear ! 

Hangman — Yes ; and I hope it will be a lesson to 
you. (Pvrects the gallows on the stage.) 

Punch — Oh, my poor wife and sixteen small 
children ! most of them twins, and the oldest only 
three years of age. 

Hangman — Now, Mr. Punch, you are ordered for 
instant execution. 

Punch— What's that ? 

Hangman — You are to be hanged by the neck till 
you are dead ! dead ! dead ! 

Punch — What ! three times ? 

Hangman — No ; once will be enough. Place your 
head in the centre of this noose. 

Punch — Stop a bit ; I haven't made my will. 

Hangman — We can't help that. Come, put your 
head in. 

Punch (putting his head one side of the noose). 
Where? There? 

Hangman — No ; higher up. 

Punch (putting his head over). There ? 

Hangman — No ; lower down. 

Punch — Well, I never was hanged before^so how 
should I know how it's done ? 

Hangman — I suppose I must show you the way. 
Now, then, keep J^our eye on me. I put my head 
in the noose — so ! (Puts his head in the noose.) 

Punch — Oh, like that, is it? (Pulls the rope 
tightly, and hangs the hangman.) Oee ! oee ! oee ! 
I understand all about it. Root-to-too-it ! Here's 
a man tumbled into a ditch, and hung himself up 
to dry. 



t2i2 HOW TO AMUSE). 

Hurra ! hurra ! I've done the trick ! 
Jack Ketch is dead, and Punch is free ! 

(Ghost rises, and taps Punch on the shoulders.) 

Ghost — You're wanted. 

Punch — Oh, dear ! oh, dear 1 What for? 

Ghost — In the other world, to answer for your 
misdeeds. 

Punch — Stop a bit ! whom were you to ask for ? 

Ghost — Why, Punch, the man who was to be 
hanged. 

Punch — Oh, the man that was to be hanged ; 
then that*s the gentleman you want ! (Points to 
Hangman.) 

Ghost — Oh ! I beg your pardon ! Good night ! 
(Carries off Hangman.) 

Punch (hitting the sinking Ghost with the stick). 
Good night ! Pleasant journey to you ! (Sings). 

Root-to too-it ! serves him right, 
All my foes are put to flight ; 
Ladies and gentlemen all, good night. 
To the freaks of Punch and Judy ! 

{Curtain falls}) 



th:^ '*art'» kxhibition. 213, 



THE **ART" EXHIBITION. 



The elaborate ** sell " whicli goes by this name is 
an institution which has only sprung up within the 
last three or four years. We have seen it intro- 
duced on two or three occasions at fancy fairs and 
charity bazaars, at which it has proved a great 
attraction. 

A regular printed catalogue is got up, containing 
apparently the names of a collection of pictures or 
sculpture, each object duly numbered, and with 
the name of the artist appended. In some in- 
stances the name of a (supposed) picture is followed 
by an appropriate quotation in poetry or prose, 
after the orthodox fashion of the American Aca- 
demy and other gallaries. We append, by way of 
illustration, a selection from the catalogue of a 
collection which has met with great success : 

Exhibition of th^ Works of Living 
Artists. 

CATAI^OGUK. 



Part I. 

WORKS OF art. 

1. Horse Fair After Rosa Bonheur. 

2. A Brush with a Cutter off Deal Carpenter. 

3. Caught in Squall off Yarmouth Fisher. 

4. The Last of poor Dog Tray Barker. 

5. ** He will return, I know he will " 

Lent by the Trustees of the Parish. 

6. The Midnight Hour C. Lock. 



214 HOW TO amuse:. 

7. Heroes of Waterloo Schumacher. 

8. True to the Core C. OdHng. 

9. '* Spring, Spring, Beautiful Spring! " Mayne. 

10. ** Tears, Idle Tears '' Strong. 

11. The Midnight Assassin F. Sharpe. 

12. The Dripping Well T. Inman. 

13. Family Jars Potter. 

14. Never Too Late to Mend S. Titch 

15. Past Healing Kobler. 

16. The First Sorrow Smalchild. 

17. Saved S. Kinfiint. 

18. Lost. 

19. First Love Sweet. 

20. The Death of the Camel After Goodall. 

21. His First Cigar A. Young. 

22. A Good Fellow Gone M. L Slade. 

23. Portrait of a Gentleman Anonymous. 

24. Portrait of a Lady Anonymous. 

25. Our Churchwardens Screw. 

26. Portraits of the Reigning Sover- 

eigns of Europe G. P. O. 

[Taken by special order.] 

27. Waifs of Ocean Fish. 

" Strange things come up to look at us, 
The monsters of the deep." 

28. The Last Man Unknown. 

29. Contribution from the celebrated 

Sheepshanks Collection Butcher. 

30. The Light of Other Days Dimm. 

31. The Meet of Her Majesty's Hounds Pratt. 

32. Water Scene 

" And I hear 
Those waters rolling from the mountain springs 
With a sweet inland murmur" 

33. The Maiden's Jov Bachelor. 

34. Ttie Fall Adam. 



THE ^*ART^' EXHIBITION. 215 

55. Motherhood 

'* bhe laid it where the sunbeams fall 
Unscanned upon the broken waljj, 
Without a tear, without a groan 
She laid it near a mighty stone 
Which some rude swain had haply cast 
Thither in sport, long ages past, — 
There in its cool and quiet bed 
She set her burden down and fled ; 
Nor flung, all eager to escape, 
One glance upon the perfect shape 
That lay, still v^raxm and fresh and fair. 
But motionless and soundless there." 

C. S. Calverley, 

36. A Friendly Party on Hampstead Heath Moke. 

37. Borrowed Plumes Wigg. 

38. Out for the Night Anonymous. 

39. Something to Adore Anonymous. 

40. The Wearied Grinder Mayne Force. 

" Change and decay in all around I see." 

Repentance G. Templar. 

Maggie's Secret Rossetter. 

Somebody's I/Uggage S. Canty. 

Eusebius B. Linkers. 

Happy Childhood Wackford Squeers. 

Not such a Fool as he looks The Ii;xhibitor. 



Part II 



Curiosities 



47. A choice Collection of Old China. 

48. A fine Specimen of Local Quartz discovered in 

the Possession of a Workman during the 
Building of the IIiw Town Hall. 

49. The Skull of the Last of the Mohicans. 



2i6 HOW TO AMUS^. 

50. A Marble Group. 

51. Bust. 

52. The Puzzle. 

53. The Instantaneous Kid Revh er. 

54. The Earnest Entreat3\ 

Explanation. 

Any one not in the secret perusing the above 
catalogue would naturally conclude that the 
descriptions referred to pictorial art of some kind 
or other. But such is by no means the case. The 
visitor, on being admitted, finds, in place of the 
expected pictures, shelves or tables on which are 
arranged sundry very commonplace objects, eac-i 
bearing a numbered ticket. On close examination 
he finds that the numbers correspond with those in 
the catalogue, and that No. i, *' Horse Fair*' {Fare)^ 
is represented, after a realistic fashion, by a hand^ 
ful of oats and a wispj of hay. No. 2, which he 
expected to find a spirited marine sketch, is in 
reality only a tooth-brush lying beside a jack- 
plane ; while the supposed companion picture^ 
'* Caught in a Squall off Yarmouth, " is represented 
by a red herring. No. 4, ' ' The Last of Poor Dog 
Tray,'* is a sausage, and the exhibitor particularly 
begs that no gentleman will on any account whistle 
while passing this picture. No. 5, **He will re- 
turn, I know he will," presumably the agonized 
cry of a forsaken maiden, is in reality a poor-rate 
collector's paper, marked *' Fifth application.'" 
No. 6 is represented by a numbered ticket only, 
with no object attached to it. The exhibitor 
explains that ''The Midnight Hour" has not yet 
arrived, but that any gentleman who likes to wait 
till it does (which will be at twelve o'clock punctu- 
ally) is very welcome to do so. The ** Heroes of 
Waterloo," Wellington and Blucher, No. 7, are 
represented by a couple of the boots known by 



THE ''ART" EXHIBITION. 217 

those distinguished names. 8, * * True to the Core,'* 
is a rosy-cheeked apple. 9 is a coil of watch-vSpring. 
10, "Tears, Idle Tears,'* on which the exhibitor 
feelingly expatiates as a noble example of the im- 
aginative in art, is — an onion ! The space dedi- 
cated to No. II is occupied by the numbered ticket 
only, the exhibitor explaining that ** The Midnight 
Assassin '* (who is stated to be a large and lively 
flea) has strolled away, and is wandering at large 
about the room ; and he adds an entreaty that any 
lady or gentleman who may meet with him will 
immediately return him to his place in the collec- 
tion. *'The Dripping Well" (No. 12) proves to 
be of the description more usually known as a 
dripping-/^/^. ** Family Jars," by Potter, is found 
to consist of a pickle-jar and jam-pot. No. 14, 
** Never Too Late to Mend/* is a boot patched all 
over; while 15, "Past Healing," is its fellow, too 
far gone to admit of like renovation. "The First 
Sorrow " is a broken doll. "Saved " is a money- 
box, containing twopence- halfpenny, mostly in 
farthings. The next is a vacant space, over which 
the exhibitor passes with the casual remark, ** No. 
18, as you will observe, is unfortunately Lost.'' 
No. 19, "First Love,'* is a piece of taffy. 20, 
"The Death of the Camel," is a straw, labeled 
"The last,** and the exhibitor explains that this is 
the identical straw that broke the camel's back. 
"His First Cigar" is a mild Havana of brown 
paper. "A Good Fellow Gone" is suggested, 
rather than represented, by an odd glove. Nos. 
23, 24 are represented by two small mirrors, which 
are handed to a lady and a gentleman respectively, 
with a few appropriate remarks as to the extreme 
success of the likenesses, coupled with critical re- 
marks as to the " expression '* in each case. " Our 
Churchwardens** are a pair of long clay pipes. 
No. 26, "Portraits of the Reigning Sovereigns of 
Europe," are represented by a few cancelled for- 



2i8 HOW TO AMUSi:^. 

eign postage stamps. * * The Monsters of the Deep, * * 
in No. 27, are represented by a periwinkle and a 
shrimp. ** The Last Man '* (No. 28) is at present 
missing from his place in the collection, but the 
exhibitor explains that he will be seen going out 
lust as the exhibition closes. The ^ ' Contribution 
from the Sheepshanks Collection " (29) is a couple 
of mutton-bones ; while ''The Light of Other Days" 
(30) is an old-fashioned lantern and tinder-box. 
*' The Meet {meat) of Her Majesty's Hounds " is a 
piece of dog-biscuit. No. 32 is a leaky can of 
water. ** The Maiden's Joy " (obviously) is a wed- 
ding-ring. ''The Fall'* is a lady's veil. No. 35, 
"Motherhood,'' is the gem of the collection, and 
should be kept carefully hidden (say by a handker- 
chief thrown over it) until the company have had 
time to read and appreciate Mr. Calverley's grace- 
ful lines, when the veil is removed, and behold — an 
^gg\ No. 36, "A Friendly Party on Hampstead 
Heath," is represented by three toy donkeys. 
"Borrowed Plumes'* are represented by a lady's 
false front. "Out for the Night" is an extin- 
guished candle. ' ' Something to Adore ' * is a rusty 
bolt. " The Wearied Grinder " is a back tooth of 
somebody's, very much the worse for wear. *' Re- 
pentance " TNo. 41) is represented by a smashed 
hat and a bottle of soda-water. "Maggie's Secret" 
is a gray hair, labeled "Her first." No. 43, 
"Somebody's Luggage," consists of a broken comb 
and a paper collar. " Eusebius '* is a pair of spec- 
tacles. "Happy Childhood" is indicated by a 
lithe and "swishy" cane. When the company 
arrive at No. 46, the corresponding object is appa- 
rently missing. The exhibitor refers to his notes, 
and says, " 46 — 46? I see they have written down 
against No. 46, 'The Exhibitor,' but I don't see 
quite what they mean. Suppose we pass on to the 
curiosities, ladies and gentlemen." No. 47 is 
merely some smashed crockery, and No. 48 a pewter 



THE '^ART'» EXHIBITION. 219 

quartpot. No. 49 is again a vacant space, and the 
exhibitor explains that ' The Last of the Mohicans* 
has just gone home to his tea, and has taken his 
skull with him. No. 50 is, as its name implies, a 
group of marbles (of the school-boy character). 
No. 51 is a paper bag of peas, and, being too full, 
has **bust." **The Puzzle" (No. 52) is an old 
Guide-book. "The Instantaneous Kid Reviver" 
is a baby's feeding-bottle ; and *'The Earnest En- 
treaty'' is the request of the exhibitor that the 
visitors will recommend the collection to their 
friends. 

If the ** showman" be possessed of a good fund 
of talk and a dash of dry humor, the fun of the 
collection may be still further enhanced by his ex- 
planations and criticism of the various objects. 
Poor Artemus Ward's celebrated lecture is an 
excellent model to copy ; indeed, many of his 
*' bits " may be stolen bodily with very satisfactory 
result. Even without the aid of a showman, the 
comparison of the poetical descriptions and the 
sober reality will produce a good deal of fun ; but, 
in this case, the various blanks or vacant spaces to 
be filled up by explanation must necessarily be 
omitted — a good many telling items being thereby 
sacrificed. 



220 HOW TO AMUSE. 



CONJURING WITH COIN. 

Coin-conjuring, like card-conjuring, has its own 
peculiar sleights, which it will be necessary for the 
student to practice diligently before he can hope to 
attain much success in this direction. 

The first faculty which the novice must seek to 
acquire is that of " palming " — /. e.y secretly hold- 
ing an object in the open hand by the contraction 
of the palm. To acquire this power, take a half- 
crown, florin, or quarter (these being the most con- 
venient in point of size), and lay it on the palm of 
the open hand. Now close the hand very slightly, 
and if you have placed the coin on the right spot 
(which a few trials will quickl}' indicate), the con- 
traction of the palm around its edges will hold it 
securely, and you may move the hand and arm in 
any direction without fear of dropping it. You 
should next accustom yourself to use the hand and 
fingers easily and naturally, while still holding the 
coin as described. A very little practice will enable 
you to do this. You must bear in mind while 
practicing always to keep the inside of the palm 
either downward or toward your own body, as any 
reverse movement would expose the concealed 
coin. 

Passes. 

Being thoroughly master of this first lesson, you 
may proceed to the study of the various *' passes.'* 
All of the passes have the same object — viz., the 
apparent transfer of an article from one hand to the 
other, though such article really remains in the 
hand which it has apparently just quitted. As the 
same movement frequently repeated would cause 



CONJURING WITH COIN. 221 

suspicion, and possibly detection, it is desirable to 
acquire different ways of effecting this objeot. It 
should be here mentioned that the term " palm- 
ing,** which we have so far used as meaning simply 
the act oi holding any article, is also emplo3^ed to 
signify the act of placing any article in the palm 
by one or other of the various passes. The context 
will readily indicate in which of the two senses the 
term is used in any given passage. 

Pass i. — Take the coin in the right hand, between 
the second and third fingers and the thumb, letting 
it, however, really be supported by the fingers, and 
only steadied by the thumb. Now move the thumb 
out of the way, and close the second and third 
fingers, with the coin balanced on them, into the 
palm. If the coin was rightly placed in the first 
instance, you will find that this motion puts it 
precisely in the position above described as the 
proper one for palming ; and on again extending 
the fingers, the coin is left palmed. When you can 
do this easily with the hand at rest, you must 
practice doing the same thing with the right hand 
in motion toward the left, which should meet it 
open, but should close the moment that the fingers 
of the right hand touch its palm, as though upon 
the coin which you have by this movement feigned 
to transfer to it. The left hand must thenceforward 
remain closed, as if holding the coin, and the right 
hand hang loosely open, as if empty. 

Pai^ming. 

In the motion of * ' palming " the two hands must 
work in harmony, as in the genuine act of passing 
an article from the one hand to the other. The left 
hand must therefore rise to meet the right, but 
should not begin its journey until the right hand 
begins its own. Nothing looks more awkward or 
unnatural than to see the left hand extended, with 



222 HOW TO AMUSK. 

open palm, before tbe right hand has begun to 
move toward it. 

Pass 2. — This is somewhat easier than Pass i, and 
may sometimes be usefully substituted for it. Take 
the coin edgeways between the first and third 
fingers of the right hand, the sides of those fingers 
pressing against the edges of the coin, and the 
middle finger steadying it from behind. Carry the 
right hand toward the left, and at the same time 
move the thumb swiftly over the face of the coin 
till the top joint passes its outer edge, then bend 
the thumb, and the coin will be found to be se- 
curely nipped between that joint and the junction 
of the thumb with the band. As in the last case, 
the left hand must be closed the moment the right 
hand touches it ; and the right must thenceforth 
be held with the thumb bent slightly inward 
toward the palm, so that the coin may be shielded 
from the view of the spectators. This is an espe- 
cially quick mode of palming, and if properly exe- 
cuted the illusion is perfect. 

Pass 3. — Hold the left hand palm upward, with 
the coin in position. Move the right hand toward 
the left, and let the fingers simulate the motion of 
picking up the coin, and instantly close. At the 
same moment slightly close the left hand, so as to 
contract the palm around the coin, and drop the 
hand, letting it hang loosely by your side. 

The Vanishing Trick. 

A word of caution may here be desirable. These 
** passes'' must by no means be regarded as being 
themselves IHcks, hut only as processes to be used 
in the performance of tricks. If the operator, after 
pretending to pass the coin, say, from the right 
hand to the left, and showing that it had vanished 
from the left hand, were to allow his audience to 
discover that it had all along remained in his right 



CONJURING WITH COIN. 223 

hand, they might admire the dexterity with which 
he had in this instance deceived their eyes, but 
they would henceforth guess half the secret of any 
trick in which palming was employed. If it is 
necessary immediately to reproduce the coin, the 
performer should do so by appearing to find it in 
the hair or whiskers of a spectator, or in any other 
place that may suit his purpose, remembering al- 
ways to indicate beforehand that it has passed to 
such a place, thereby diverting the general atten- 
tion from himself. As the coin is already in his 
hand, he has only to drop it to his finger-tips as the 
hand reaches the place he has named, in order, to 
all appearance, to takeit from thence. 

The various passes may be employed not only to 
cause the disappearance of an article, as above de- 
scribed, but to secretly exchange it for a substitute 
of similar appearance. These exchanges are of 
continual use in conjuring ; indeed, we may almost 
say that three parts of its marvels depend on them. 
Such an exchange having been made, the substitute 
is left in sight of the audience, while the performer, 
having thus secretly gained possession of the 
original, disposes of it as may be necessary for the 
purpose of the trick. 

With this brief practical introduction, we proceed 
to describe a few of the simpler tricks with coins. 

Heads or Taii,s. 

You borrow a quarter, and spin it, or invite some 
other person to spin it, on the table (which must 
be without a cloth). You allow it to spin itself 
out, and immediately announce, without seeing it, 
whether it has fallen head or tail upward. This 
may be repeated any number of times with the 
same result, though you may be blindfolded, and 
placed at the further end of the apartment. 

The secret lies in the use of a quarter of your 



224 HOW TO AMUSE. 

own, on one face of which (say on the ** tail " side) 
you have cut at the extreme edge a little notch, 
thereby causing a minute point or tooth of metal 
to project from that side of the coin. If a coin so 
prepared be spun on the table, and should chance 
to go down with the notched side upward, it will 
run down like an ordinary coin, with a long con- 
tinuous "whirr,*' the sound growing fainter and 
fainter till it finally ceases ; but if it should run 
down with the notched side downward, the fric- 
tion of the point against the table will reduce this 
final whirr to half its ordinary length, and the coin 
will finally go down wdth a sort of ** flop.*' The 
difference of sound is not sufficiently marked to 
attract the notice of the spectators, but is perfectly 
distinguishable by an attentive ear. If, therefore, 
you have notched the coin on the ** tail " side, and 
it runs down slowly, you will cry *'tail;'' if 
quickly, *' head." 

If you professedly use a borrowed coin, you must 
adroitly change it for your own, under pretence of 
showing how to spin it, or the like. 

Odd or Even ; or, thej Mysterious Addition. 

You take a handful of coins, and invite another 
person to do the same, and to ascertain privately 
whether the number he has taken is odd or even. 
You request the company to observe that you have 
not asked him a single question, but that you are 
able, notwithstanding, to divine and counteract his 
most secret intentions, and that you will, in proof 
of this, yourself take a number of coins and add 
them to those he has taken, when, if his number 
was odd, the total shall be even ; if his number 
was even, the total shall be odd. Requesting him 
to drop the coins he holds into a hat, held on high 
by one of the company, you drop in a certain 
number on your own account. He is now asked 



CONJURING WITH COIN. 225 

whether his number was odd or even ; and, the 
coins being counted, the total number proves to be, 
as you stated, exactly the reverse. The experi- 
ment is tried again and again, with different num- 
bers, but the result is the same. 

The secret lies in the simple arithmetical fact, 
that if you add an odd number to an even number, 
the result will be odd ; if you add an odd number 
to an odd number, the result will be even. You 
have only to take care, therefore, that the number 
you yourself add, whether large or small, shall 
always be odd. 

To Rub One Dim^ Into Three. 

This is a simple little parlor trick, but will some- 
times occasion a good deal of wonderment. Pro- 
cure three dimes of the same issue, and privately 
stick two of them with wax to the under side of a 
table, at about half an inch from the edge, and 
eight or ten inches apart. Announce to the com- 
pany that you are about to teach them how to make 
moDey. Turn up your sleeves, and take the 
third dime in your right hand, drawing particular 
attention to its date and general appearance, and 
indirectly to the fact that you have no other coin 
concealed in your hands. Turning back the table- 
cover, rub the dime with the ball of the thumb 
backward and forward on the edge of the table. 
In this position your fingers will naturally be below 
the edge. After rubbing for a few seconds, say, 
" It is nearly done, for the dime is getting hot ; *• 
and, after rubbing a moment or two longer with 
increased rapidity, draw the hand away sharply, 
bringing away with it one of the concealed dimes, 
which you exhibit as produced by the friction. 
Leaving the waxed dime on the table, and again 
showing that you have but one coin in your hands, 
repeat the operation with the remaining dime. 



226 HOW TO AMUSB. 

The; Capitai, Q. 

Take a number of coins, say from five-and- 
twenty to thirty, and arrange them in the form of 
the letter Q, making the '*tail" consist of some 
six or seven coins. Then invite some person (dur- 
ing your absence from the room) to count any 
number he pleases, beginning at the tip of the tail 
and traveling up the le/l side of the circle, touch- 
ing each coin as he does so ; then to work back 
again from the coin at which he stops (calling such 
coin one)y this time, however, not returning down 
the tail, but continuing round the opposite side of 
the circle to the same number. During this pro- 
cess you retire, but on your return you indicate 
with unerring accuracy the coin at which he left 
o£F. In order to show (apparently) that the trick 
does not depend on any arithmetical principle, you 
reconstruct the Q, or invite the spectators to do so, 
with a different number of coins, but the result is 
the same. 

The solution lies in the fact that the coin at 
which the spectator ends will necessarily be at the 
same distance from the root of the tail as there are 
coins in the tail itself Thus, suppose that there 
are five coins in the tail, and that the spectator 
makes up his mind to count eleven. He com- 
mences from the tip of the tail, and counts up the 
left side of the circle. This brings him to the sixth 
coin beyond the tail. He then retrogrades, and 
calling that coin **one," counts eleven in the op- 
posite direction. This necessarily brings him to 
the fifth coin from the tail on the opposite side, 
being the length of the tail over and above those 
coins which are common to both processes. If he 
chooses ten, twelve, or any other number, he will 
still, in counting back again, end at the same 
point. 

The rearrangement of the coins, which is 



CONJURING WITH COIN. 227 

apparently only intended to make the trick more 
surprising, is really designed, by altering the length 
of the tail, to shift the position of the terminating 
coin. If the trick were performed tv/o or three 
times in succession with the same number of coins 
in the taiL the spectators could hardly fail to ob- 
serve that the same final coin was always indicated, 
and thereby to gain a clue to the secret. The 
number of coins in the circle itself is quite imma- 
terial. 

The Wandering Dime. 

Have ready two dimes, each slightly waxed on 
one side. Borrow a dime, and secretly exchange 
it for one of the waxed ones, laying the latter, 
waxed side uppermost, on the table. Let any one 
draw two squares of ordinary card-board. Take 
them in the left hand, and, transferring them to 
the right, press the second waxed dime against the 
centre of the undermost, to which it will adhere. 
Lay this card (which we will call a) on the table, 
about eighteen inches from the dime which is al- 
ready there, and cover such dime with the other 
card, h. Lift both cards a little way from the table, 
to show that the dime is under card a, and that 
there is (apparently) nothing under card b. As 
you replace them, press lightly on the centre 
of card a. You may now make the dime 
appear under whichever card you like, remember- 
ing that, if you wish the dime not to adhere, you 
must bend the card slightly upward in taking it 
from the table ; if otherwise, take it up without 
bending. 

The Magic Cover and Vanishing Pennies. 

For the purpose of this trick you require half a 
dozen cents, of which the centre portion has been 
cut out, leaving each a mere rim of metal. Upon 



228 HOW TO AMUSK^ 

these is placed a complete cenl, and the whole are 
connected together by a rivet, running through the 
whole thickness of the pile. When placed upon 
the table, with the complete coin upward, they 
have all the appearance of a pile of ordinary 
pennies, the slight lateral play allowed by the rivet 
aiding the illusion. A little leather cap (shaped 
something like a fez, with a little button on the 
top, and of such a size as to fit loosely over the pile 
of cents), with an ordinary die, such as backgam- 
mon is played with, complete the necessary appa- 
ratus. 

You begin by drawing attention to your magic 
cap and die, and in order to exhibit their mystic 
powers, you request the loan of half a dozen cents 
(the number must, of course, correspond with that 
of your own pile). While they are being collected, 
you take the opportunity to slip the little cap over 
your prepared pile, which should be placed ready 
to hand behind some small object on the table, so 
as to be unseen by the spectators. Pressing the 
side of the cap, you lift the pile with it, and place 
the whole together in full view, in close proximity 
to the die. The required cents having been now 
collected, you beg all to observe that you place the 
leather cap (which the spectators suppose to be 
empty) fairly over the die. Taking the genuine 
coins in either hand, you pretend, by one or other 
of the '* passes,'* to transfer them to the other. 
Holding the hand which is now supposed to con- 
tain the coins immediately above the cap, you 
announce that they will at your command pass 
under the cap, from which the die will disappear to 
make room for them. Saying, " One, two, three ! 
Pass!** you open your hand, and show that the 
coins have vanished ; and then, lifting up the cap 
by the button, you show the hollow pile, covering 
the die and appearing to be the genuine coins. 
Once more covering the pile with the cap, you 



CONJURING WITH COIN. 229 

announce that you will again extract the coins, and 
replace the die ; and to make the trick still more 
extraordinary, you will this time pass the coins 
right through the table. Placing the hand which 
holds the genuine coins beneath the table, and 
once more saying, -*One, two, three ! Pass ! " you 
chink the coins, and, bringing them up, place them 
on the table. Again picking up the cap, but this 
time pressing its sides, you lift up the hollow pile 
with it, and disclose the die. Quickly transferring 
the cap, without the pile, to the other hand, you 
place it on the table, to bear the brunt of examina- 
tion, while you get rid of the prepared coins. 

The Peppkr-Box, for Vanishing Money. 

This is a small tin box, of the pepper-box or flour- 
dredger shape, standing three to four inches high. 
The * * box '* portion (as distinguished from the lid) 
is made double, consisting of two tin tubes sliding 
the one within the other, the bottom being soldered 
to the inner one only. By pulling the bottom 
downward, therefore, you draw down with it the 
inner tube, telescope fashion. By so doing you 
bring into view a slit or opening at one side of the 
inner tube, level with the bottom, and of such a 
size as to let a half-dollar pass through it easily. 
The lid is also specially prepared. It has an inner 
or false top, and between the true and false top a 
loose bit of tin is introduced, which rattles when 
the box is shaken, unless you at the same time 
press a little point of wire projecting from one of 
the holes at the top, and so render it, for the time 
being, silent. The box is first exhibited with the 
inner tube pushed up into its place, and the 
opening thereby concealed. A marked coin is 
borrowed, but either before or after the coin is 
placed therein, as may best suit his purpose, the 
performer secretly draws out the inner tube a 



230 HOW TO AMUSE. 

quarter of an inch or so, thus allowing the coin to 
slip through into his hand. As he places the box 
on the table, a very slight pressure suffices to force 
the tube up again into its original position, and 
close the opening. Having made the necessary 
disposition of the coin, the performer takes up the 
box and shakes it, to show (apparently) that the 
coin is still there, pressing on the little point above 
mentioned when he desires it to appear that it has 
deoarted, and immediately opening the box to 
show that it is emnty. The pepper-box will not 
bear minute inspection, and is in this particular 
inferior to the rattle box. 

A Nest of Boxes. 

This consists of half a dozen circular wooden 
boxes, one within the other, the outer box having 
much the appearance, but being nearly double the 
size, of an ordinary tooth-powder box, and the 
smallest being just large enough to contain a quart 
The series is so accurately made that, by arranging 
the boxes in due order, one within the other, and 
the lids in like manner, you may, by simply putting 
on all the lids together, close all the boxes at 
once, though they can only be opened one by one. 

These are placed, the boxes together and the lids 
together, anywhere so as to be just out of sight of 
the audience. If on your table, they may be hid- 
den by any more bulky article. Having secretly 
obtained possession, by either of the means before 
described, of a coin which is ostensibly deposited in 
some other piece of apparatus, you seize your 
opportunity to drop it into the innermost box, and 
to put on the united lids. You then bring forward 
the nest of boxes (which the spectators naturally 
take to be one box only), and announce that the 
twenty-five cent piece will at your command pass 
from the place in which it has been deposited into 



CONJURING WITH COIN. 231 

the box which you hold in your hand, and which 
you forthwith deliver to one of the audience for 
safe keeping. Touching both articles with thfc 
mystic w^and, you invite inspection of the first to 
show that the money has departed, and then of the 
box, wherein it is to be found. The holder opens 
the box, and finds another, and then another, and 
in the innermost of all, the marked coin. Seeing 
how long the several boxes have taken to open, 
the spectators naturally infer that they must take 
as long to close, and (apart from the other mysteries 
of the trick) are utterly at a loss to imagine how, 
with the mere moment of time at your command, 
you could have managed to insert the coin, and 
close so many boxes. If you desire to use the nest 
for a coin larger than a quarter, you can make it 
available for that purpose by removing beforehand 
the smallest box. 

Thk Bai.1, of Berlin Wooi.. 

An easy and effective mode of terminating a 
money trick is to pass the marked coin into the 
centre of a large ball of Berlin wool or worsted, the 
whole of which has to be unwound before the coin 
can be reached. The modus operandi^ though per- 
plexing to the uninitiated, is absurdly simple when 
the secret is revealed. The only apparatus neces- 
sary over and above the wool (of which you must 
have enough for a good-sized ball), is a flat tin tube, 
three to four inches in length, and just large 
enough to allow a quarter or half-dollar (whichever 
you intend to use for the trick) to slip through it 
easily. You prepare for the trick by winding the 
wool on one end of the tube, in such manner that 
when the whole is wound in a ball, an inch or so 
of the tube may project from it. This you place in 
your pocket, or anywhere out of sight of the audi- 
ence. You commence the trick by requesting some 



232 HOW TO AMUSB. 

one to mark a coin, which you forthwith exchange 
by one or other of the means already described, for 
a substitute of your own, and leave the latter in 
the possession or in view of the spectators, while 
you retire to fetch your ball of wool, or simply 
take it from your pocket. Before producing it, 
you drop the genuine coin down the tube into the 
centre of the ball, and withdraw the tube, giving 
the ball a squeeze to remove all trace of an opening. 
You then bring it forward, and place it in a glass 
goblet or tumbler, which you hand to a spectator 
to hold. Taking the substitute coin, you announce 
that you will make it pass invisibly into the very 
centre of the ball of wool, which you accordingly 
pretend to do, getting rid of it by means of one or 
other of the *' passes" already described. You 
then request a second spectator to take the loose 
end of the wool, and to unwind the ball, which, 
when he has done, the coin falls out into the 
goblet. 

The only drawback to the trick is the tediousness 
of unwinding. To obviate this, some performers 
use a wheel made for the purpose, which materi- 
ally shortens the length of the operation. 



MISCKIvLANEOUS TRICKS. 233 



MISCEIvLANEOUS TRICKS. 



The Raisin Tortoise. 

This noble animal is constructed as follows : — 
A muscatel raisin forms the body, and small por- 
tions of the stalk of the same fruit the head and 
legs. With a little judgment in the selection of the 
pieces of stalk and the mode in which they are 
thrust into the body, it is surprising what a life- 
like tortoise may be thus produced. While the 
work of art in question is being handed round on a 
plate for admiration, the artist may further dis- 
tinguish himself, if the wherewithal is obtainable, 
by constructing 



The Lemon Pig. 

The body of the pig consists of a lemon. The 
shape of this fruit renders it particularly well 
adapted for this purpose, the crease or shoulder at 
the small end of the lemon being just the right 
shape to form the head and neck of the pig. With 
three or four lemons to choose from, you cannot 
fail to find at least one which will answer the pur- 
pose exactly. The mouth and ears are made by 
cutting the rind with a penknife, the legs of short 
ends of lucifer matches, and the eyes either of black 
pins, thrust in up to the head, or of grape-stones. 



234 HOW TO AMUSB. 

Thk Seasick Passenger. 

The requirements for this touching picture are 
an orange, a pocket-handkerchief or soft table- 
napkin, and a narrow water goblet. The orange 
is first prepared by cutting in the rind with a pen- 
knife the best ears, nose, and mouth which the 
artist can compass, a couple of raisin-pips supply- 
ing the place of eyes. A pocket-handkerchief is 
stretched lightly over the glass, and the prepared 
orange laid thereon. The pocket-handkerchiet is 
then moved gently backward and forward over 
the top of the glass, imparting to the orange a roll- 
ing motion, and affording a laughable but striking 
caricature of the agonies of a seasick passenger. 

The Enchanted Raisins. 

Take four raisins or bread-pills, and place them 
about afoot apart, so as to form a square on the table. 
Next fold a couple of table-napkins, each into a pad 
of five inches square. Take one of these in each 
hand, the fingers undermost and the thumb upper- 
most. Then inform the company that you are 
about to give them a lesson in the art of hanky- 
panky, etc., and in the course of your re- 
marks bring down the two napkins carelessly over 
the two raisins farthest from you. Leave the right- 
hand napkin on the table, but, in withdrawing the 
hand, bring away the raisin between the second 
and third fingers, and at the same moment remark- 
ing, "You must watch particularly how many 
raisins I place under each napkin," lift the left- 
hand napkin (as if merely to show that there is one 
raisin only beneath it), and transfer it to the palm 
of the outstretched right hand, behind which the 
raisin is now concealed. Without any perceptible 
pause, but at the same time without any appear- 
ance of haste, you replace the folded napkin on 



MISCBIvLANKOUS TRICKS. 235 

raisin No. 2, and in so doing leave raisin No. i be- 
side it. Now take up raisin No 3 (with the right 
hand). Put the hand under the table, and in 
doing so get raisin No. 3 between the second and 
third fingers, as much behmd the hand as possible 
Give a rap with t^e knuckles on the under-side of 
the table, at the same time saying, ''PavSS ! " and 
forthwith pick up the left-hand napkin with the 
left hand, showing the raisins i and 2 beneath it. 
All eyes are drawn to the two raisins on the table, 
and as the right hand comes into sight from be- 
neath the table the left quietly transfers the napkin 
to it, thereby effectually concealing the presence 
of raisin No. 3. The napkin is again laid over 
raisins i and 2, and No. 3 is secretly deposited with 
them. No. 4 is then taken in the right hand, and 
the process repeated, when three raisins are natur- 
ally discovered ; the napkin being once more re- 
placed, and No. 4 left with the rest. There are 
now four raisins under the left-hand napkin, and 
none under that on the right hand, though the 
spectators are persuaded that there is one under 
the latter, and only three under the former. The 
trick being now practically over, the performer 
may please himself as to the form of the dknouement, 
and, having gone through any appropriate form of 
incantation, commands the imaginary one to go 
and join the other three, which is found to have 
taken place accordingly. 



Thk Demon Lump 01^ Sugar. 

The performer commences by borrowing two 
hats, which he places, crown upward, upon the 
table, drawing particular attention to the fact that 
there is nothing whatever under either of them. 
He next demands the loan of the family sugar 
basin, and requests some one to select from it a 



236 HOW TO AMUSE. 

lump of sugar (preferably one of an unusual and 
easily distinguished shape), at the same time in- 
forming them that, by means of a secret process, 
only known to himself, he will undertake to swal- 
low such lump of sugar before their eyes, and yet, 
after a few minutes' interval, bring it under either 
of the two hats they may choose. The company, 
having been prepared by the last trick to expect 
some ingenious piece of sleight-of-hand, are all on 
the qui vive to prevent any substitution of another 
lump of sugar, or any pretence of swallowing 
without actually doing so. However, the per- 
former does unmistakably take the identical lump 
of sugar chosen and crush it to pieces with his 
teeth. He then asks, with unabated confidence, 
under which of the two hats he shall bring it, and, 
the choice having been made, places the chosen 
hat on his own head, and in that way fulfills his 
undertaking. 

The Mysterious Production. 

This is another feat of the genus *^sell," and to 
produce due effect should only be introduced after 
the performer has, by virtue of a little genuine 
magic, prepared the company to expect from him 
something a little out of the common. He begins 
by informing the spectators that he is about to 
show them a great mystery, a production of nature 
on which no human being has ever yet set eye, 
and which, when they have once seen, no human 
being will ever set eyes on again. When the gen- 
eral interest is sufficiently awakened, he takes a 
nut from the dish and, having gravely cracked it, 
exhibits the kernel, and says, ** Here is an object 
which you will all admit no human being has ever 
seen, and which " (here he puts it into his mouth 
and gravely swallows it) *' I am quite sure nobody 
will ever see again." 



MISCKlvIvANKOUS TRICKS. 237 

The Famii^y Giant. 

A very fair giant, for domestic purposes, may be 
produced by the simple expedient of seating a 
young lad astride on the shoulders of one of the 
older members of the company, and draping the 
combined figure with a long cloak or Inverness 
cape. The ''head" portion may, of course, be 
*' made up ** as much as you please, the more com- 
plete the disguise the more effective being the 
giant. A ferocious -looking moustache and whis- 
kers will greatly add to his appearance. If some 
ready-witted and genial member of the party will 
undertake to act as showman, and exhibit the 
giant, holding a lively conversation with him, and 
calling attention to his gigantic idiosyncrasies, a 
great deal of fun may be produced. The j oke should 
not, however, be very long continued, as the 
feelings of the '*legs " have to be considered. If 
too long deprived of air and light they are apt to 
wax rebellious, and either carry the giant in direc- 
tions he would fain avoid, or even occasionally to 
strike altogether, and bring the giant's days to a 
sudden and undignified termination. 



The Animated Tki^escope. 

This is a much more finished deception, and is not 
unfrequently seen exhibited at theatres and cir 
cuses. The figure is constructed as follows : — You 
procure a stout broomstick, four feet long, and on 
one end thereof fasten firmly a grotesque paste- 
board head, with appropriate headdress. ISIext 
construct an extinguisher-shaped robe of some dark 
material (a coarse black muslin or canvas is the 
best, as allowing a reasonable amount of light and 
ventilation to the performer). It should be gath- 
ered in with a frill round the neck of the figure, and 



238 HOW TO AMUSE. 

should De of such a length that when the performer 
stands beneath, with the stick extended at full 
length above his neck, it shall all but reach the 
ground. The robe should taper gradually outward, 
from a diameter of about eight inches at the top to 
about two feet six at the bottom. A cane hoop 
should be fastened horizontally within it at about 
the height of the performer's knees, and another at 
about the level of his chin. These keep the 
garment distended, and give the operator much 
greater freedom of movement than he would other- 
wise enjoy. The lower hoop should be attached 
by four pieces of tape to a belt around the per- 
former's waist, this arrangement keeping it at a 
uniform height from the floor, and preventing the 
skirt getting under the performer's feet in walking. 

With a little practice the figure thus composed 
may be made to go through a variety of the most 
eccentric manoeuvres. For instance, by gradually 
lowering the stick, and at the same time contract- 
ing the body into a crouching position, it may be 
made to sink to the dimensions of a dwarf. 

By bending the body, and at the same time low- 
ering the stick into a horizontal position, the figure 
will be made to salute. While in this position the 
head may be made to describe a circle of three or 
four feet in diameter, with inexpressibly comical 
effect. The stick may then be sloped backward. 
By way of finale, the figure may be made to pass 
its head between its legs, and in that position make 
its exit. Some little practice is required to work 
the ** Nondescript '* effectively. 



* * The What-do-you-Think ? ' * 

Our next three or four sections will be devoted 
to the description of the after-dinner menagerie. 
We will begin with the *' What-do-you-Think? *' 



MISCKLIvANKOUS TRICKS. 239 

The exhibitor begins, in proper showman style, 
** Ladies and Gentlemen, I have the pleasure of 
exhibiting to your notice the celebrated ' What-do- 
you-Think ? ' or Giant Uncle-Bater. You have all 
probably heard of the Ant-Eater. This is, as you 
will readily perceive, a member of the same family, 
but more so ! He measures seven feet from the 
tip of his snout to the end of his tail, eight feet 
back again, five feet round the small of his waist, 
and has four feet of his own, making twenty-four 
in all. In his natural state he lives chiefly on blue- 
bottle flies and mixed pickles, but in captivity it is 
found that so rich a diet has a tendency to make 
him stout, and he is now fed exclusively on old 
champagne corks and back numbers of some daily 
paper. His voice, which you may perhaps have 
an opportunity of hearing (here the * What-do-you- 
Think?' howls dismally), is in the key of B flat, 
and is greatly admired. People come here before 
breakfast to hear it, and when they have heard it, 
they assure us that they never heard anything like 
it before. Some have even gone so far as to say 
that they never wish to hear anything like it 
again.*' Etc. 

The ** What-do~you-Think? " is manufactured as 
follows : — The performer, who should have black 
kid gloves on, places on his head a conical paper 
cap, worked up with the aid of the nursery paint- 
box into a rough semblance of an animal's head. 
This being securely fastened on, he goes down on 
his hands and knees and a shaggy railway rug (of 
fur, if procurable) is thrown over him, and secured 
round his neck, when the animal is complete. 



The^ Giraffe. 

A grotesque head, as nearly approaching the 
required shape as possible, is securely fastened to 



240 HOW TO AMUSK. 

the end of a long stick, which is held by the fore- 
most of the two performers who form the body 
beneath. To this head is attached the cloth which 
IS designed to form the body of the animal, and 
which should be pinned round the bodies of the 
two performers. A rope tail may be added. 

A good deal of fun may be produced by the 
efforts of the animal to scratch his head with his 
hind leg, etc. 



The Dwakf. 

The Dwarf can scarcely be said to belong to the 
menagerie, but may appropriately follow in this 
place. He is constructed as follows : — A table, with 
cover, is placed just m front of the drawn curtains 
of a window. The performers, of whom there are 
two, place taemseives behind the table, the one in 
front of the other. The foremost either stands, or 
kneels on a stool, as maybe found most convenient, 
and rests his hands, which are encased in a pair oif 
boots, upon the table. These form the feet of the 
Dwarf. The second performer stands behind the 
first, concealed by the curtain, and passes his arms, 
which are the only part of his person in view, over 
the shoulders of the first performer, to form the 
arms of the dwarf. The above arrangements are, 
of course, made before the company are admitted 
into the room. The dwarf then proceeds to make 
a speech or sing a song, which the arms accom- 
pany' with (as a rule) singularly inappropriate ges- 
tures. Thus, at a very impressive portion of (say) 
Hamlet's soliloquy, the right hand will be seen to 
tweak the nose violently, or even to "take a sight** 
at the assembled company. The arms have even 
been known to stop tue eloquence of the mouth, by 
violently cramming a pocket-handkerchief into it. 
The legs are equally eccentric in their behavior, 



MISCELLANKOUS TRICKS. 24? 

the Dwarf not hesitating, on an emergency, to 
scratch his nose with his foot, and so on. 

The representation of the Dwarf demands a little 
practice, but, if it is well worked, the effect pro- 
duced will fully repay the trouble expended in 
arranging it. A child's pinafore will be found the 
most appropriate garment. 



The; Two Hats. 

This is a modern version of the old ** Game of 
Contraries." The leader brings forward two hats ; 
one he places on his own head, and hands the other 
to one of the company, with whom he enters into 
conversation. The person addressed must stand 
when the leader sits, and sit when he stands, take 
off his hat when the leader puts on his, and vice 
versa, A failure in any of these particulars is pun- 
ishable by a forfeit. The conversation may be 
somewhat as follows : 

Leader (standing and wearing his own hat). 
Allow me to offer you a hat, sir. (Sits down.) 

Victim (standing up). I am much obliged to 
you, but I already have one. 

Leader. Scarcely so becoming as this one, I 
think. But won't you try it on ? (Stands up, and 
victim sits down. ) Allow me to place it on your 
head. 

Victim. Not at present, thank you, though I 
quite admit it is a very charming hat. 

Leader (throwing himself into a chair, and fan- 
ning himself with his hat). Dear me, how very 
hot the room is ! Pray don't rise on my account. 
(Victim stands up, but omits to put on his hat, 
whereby he incurs a forfeit, and the leader passes 
on to endeavor to entrap some other player.) 



242 HOW TO AMUSK. 

The: Knight o^ thb Whistlk. 

This ivS a capital game for everybody but the vie 
tim, and produces much fun. Some one who does 
not know the game is chosen to be Knight of the 
Whistle, and is commanded to kneel down and 
receive the honor of knighthood, which the leader 
(armed with a light cane, the drawing-room poker, 
or other substitute for a sword) cqnfers in due 
form. 

While placing him in position, opportunity is 
taken to attach to his back, by means of a bent pin 
or otherwise, a piece of string about a foot in 
length , to which is attached a small light whistle. 
Having been duly dubbed, in order to complete his 
dignity, he is informed that he must now go in 
quest of the Whistle, which is in the hands of one 
of the company, and will be sounded at intervals, 
in order to guide him in his search. Meanwhile 
the other players gather in a circle round him, 
making believe to pass an imaginary object from 
hand to hand. The victim naturally believes that 
this imaginary object must be the long-lost Whis- 
tle, and makes a dash for it accordingly, when the 
player who happens to be behind bis back blows 
the actual whistle, and instantly drops it again. 
Round flies the unhappy Knight, and makes a 
fresh dash to seize the Whistle, but in vain. No 
sooner has he turned to a fresh quarter than the 
ubiquitous Whistle again sounds behind his back. 

If the game is played smartly, and care taken not 
to pull upon the cord, the Knight may often be 
kept revolving for a considerable period before he 
discovers the secret. 

Sometimes a lady is chosen to **dub" the in- 
tended Knight, and the following piece of doggerel 
is repeated, the leader prompting : — 

Lady. Why do you kneel thus low to implore ? 
Gentleman . That I may remain a mere gent no 
more. 



MISCELLANEOUS TRICKS. 243 

Lady. How can I help your being a gent ? 
Gentleman. Dub me a Knight — you shall not 

repent. 
Lady. If I should yield to your request, 

What knightly duty will please you best ? 
Gentleman. To wait on ladies from morn till 
night, 

And meet their foes in deadly fight. 
Lady. Will you promise to heed all I may say, 

And my will or whim henceforth to obey ? 
Gentleman. Yes, whatever you bid me do 

Shall be my law — I belong to you. 
Lady, Go, then, and be no longer blind. 

And the troublesome Knight of the Whis- 
tle find. 

The lady then strikes his shoulder with her fan or 
handkerchief, and says, *' Rise up. Sir '* 

In this case the victim is not told, but is left to 
discover that he himself is the Knight of the 
Whistle. 

**Hb Can Do L1TT1.E.'* 

This is another *'sell** of almost childish sim- 
plicity, but we have seen people desperately puzzled 
over it, and even *' give it up " in despair. 

The leader takes a stick (or poker) in his left 
hand, thence transfers it to his right, and thumps 
three times on the floor, saying, " He can do little 
who can't do this.'* He then hands the stick to 
another person, who, as he supposes, goes through 
exactly the same performance, but if he does not 
know the game, is generally told, to his disgust, 
that he has incurred a forfeit, his imitation not 
having been exact. 

The secret lies in the fact that the stick, when 
passed on, is first received in the left hand, and 
thence transferred to the right before going through. 



244 HOW TO AMUSK. 

** Throwing Light.'* 

Two of the company agree privately upon a word 
(which as before, should be one susceptible of two 
or three meanings), and interchange remarks tend- 
ing to throw light upon it. The rest of the players 
do their best to guess the word, but when either of 
them fancies he has succeeded, he does not pub- 
licly announce his guess, but makes such a remark 
as to indicate to the two initiated that he has dis- 
covered their secret. If they have any doubt that 
he has really guessed the word, they challenge him, 
i. e., require him to name it in a whisper. If his 
guess proves to be right, he joins in the conversa- 
tion, and assists in throwing light on the subject ; 
but if, on the other hand, he is wrong, he must 
submit to have a handkerchief thrown over his 
head, and so remain, until by some more fortunate 
observation he shall prove that he really possesses 
the secret. 

We will give an example. Mr. A. and Miss B. 
have agreed on **Bed" as the word, and proceed 
to throw light upon it ; alternating upon its various 
meanings of a place of repose, a part of a garden, 
or the bed of a river. 

Miss B. I don't know what your opinion maybe, 
but I am never tired of it. 

Mr. A. Well, for my part, I am never in a hurry, 
either to get to it or to leave it. 

Miss B. How delightful it is after a long tiring 
day! 

Mr. A. Yes. But it is a pleasure that soon palls. 
The most luxurious person does not care for too 
much of it at a stretch. 

Miss B. Oh ! don't you think so? In early spring 
for instance, with the dew upon the flowers ! 

Mr. A. Ah ! you take the romantic view. But 
how would you like it beneath some rapid torrent, 
or some broad majestic river. 



MISCEIylyANEOUS TRICKS. 245 

Miss C. (thinks she sees her way, and hazards a 
remark). Or in a souckS / 

Mr. A. I beg your pardon. Please tell me, in a 
whisper, what you suppose the word to be ? 

Miss. C. (whispers). Fish ! What ! isn't that 
right ? 

Mr. A. I am afraid you must submit to a tempo- 
rary eclipse. (Throws her handkerchief over her 
face. ) 

Mr. A. to Miss B. You mentioned spring, I 
think. For my own part, I prefer feathers. 

Mr. D. (rashly concludes, from the combination 
of "spring" and " feathers,'* that spring-chickena 
must be referred to). Surely you would have them 
plucked ? 

Mr. A. (looks puzzled). T think not. May I ask 
you to name your guess? Oh, no, quite out. I must 
trouble you for your pocket-handkerchief. 

Miss B. It is curious, isn't it, that they must be 
made afresh every day ? 

Mr. A. So it is ; though I confess it never struck 
me in that light before. I don't fancy, however, 
that old Brown the gardener makes his quite sa 
often . 

Miss B. You may depend that he has it made for 
him, though. 

Miss C. (from under the handkerchief). Af any 
rate, according as he makes it, his fate will be 
affected accordingly. You know the proverb ? 

Mr. A. (removing the handkerchief). You have 
fairly earned your release. By the way, do you 
remember an old paradox upon this subject, ** What 
nobody cares to give away, yet nobody wishes to 
keep?" 

Miss B. Ah ! now you have let out the secret. I 
certainly don't wish to keep mine for long together, 
but I would willingly give it away if I could get a 
better. 

Miss B. Tell me your guess. (Miss E. whispers.) 



246 HOW TO AMUSK. 

Yes, you nave hit it. I was afraid Mr. A/s last 
** light '* was rather too strong. 

And so the game goes on, until every player is in 
the secret, or the few who may be still in the dark 
** give it up '* and plead for mercy. This, however, 
is a rare occurrence, for, as the company in general 
become acquainted with the secret, the *' lights** 
are flashed about in a rash and reckless manner, till 
the task of guessing becomes almost a matter of 
course to an ordinarily acute person. 



MuiyTiPi^YiNG Shadows. 

Before quitting the subject of fireside amuse- 
ments, we may give a passing mention to the sub« 
ject of the curious optical illusion called** The 
Multiplying Shadows," sometimes also known, 
from one form in which it is presented, as The 
Witches' Dance. A dummy figure (suppose that of 
a witch, riding on the conventional broomstick) is 
suspended by fine threads or wires on the side of 
the screen remote from the spectators. Behind this 
are ranged, one behind the other, and at right 
angles to the screen, a row of lighted candles. 
Being all in the same line, they throw one shadow 
only on the screen. The figure is now made to 
oscillate slightly, so as to impart some little motion 
to the shadow. One of the candles is now removed 
from its place in the row, and waved gently about, 
now high, now low, the efiect to the spectators 
being that a second shadow springs out of the first, 
and dances about it on the screen. A second and 
third candle is then removed, and waved up and 
down, each candle as it leaves its place in the line 
producing a separate shadow. It is well to have 
three or four assistants, each taking a candle in 
each hand. 



MISCELIvANKOUS TRICKS. 247 



The Vanishing Knots. 

For this trick you taust use a silk handkerchief. 
Twisting it rope- fashion, and grasping it by the 
middle with both hands, you request one of the 
spectators to tie the two ends together. lie does 
so, but you tell him he has not tied them half tight 
enough, and you yourself pull them still tighter. 
A second and a third knot are made in* the same 
way, the handkerchief being drawn tighter by your- 
self after each knot is made. Finally, taking the 
handkerchief, and covering the knots with the 
loose part, you hand it to some one to hold. Breath- 
ing on it, you request him to shake out the hand- 
kerchief, when all the knots are found to have dis- 
appeared. 

When the performer apparently tightens the knot, 
he in reality only strains one end of the handker- 
chief, grasping it above and below the knot. This 
pulls that end of the handkerchief out of its twisted 
condition and into a straight line, round which the 
other end of the handkerchief remains twisted ; 
in other words, converts the knot into a slip-knot. 
After each successive knot he still straightens this 
same end of the handkerchief. This end, being thus 
made straight, would naturally be left longer than 
the other, which is twisted round and round it. 
This tendency the performer counteracts by draw- 
ing it partially back through the slip-knot at each 
pretended tightening. When he finally covers over 
the knots, which he does with the left hand, he 
holds the straightened portion of the handkerchief, 
immediately behind the knots, between the first 
finger and thumb of the right hand, and therewith, 
in the act of covering over the knots, draws this 
straightened portion completely out of the slip- 
knot 



248 HOW TO AMUSE. 

Thk Dancing Sailor. 

The Dancing Sailor is a figure cut out of card- 
board, eight or nine inches in height, and with its 
arms and legs cut out separately, and attached to 
the trunk with thread in such a manner as to hang 
perfectly free. The mode of exhibiting it is as 
follows : — The performer, taking a seat facing the 
company, with his legs slightly apart, places the 
figure on the ground between them. As might be 
expected, it falls flat and lifeless, but after a few 
mesmeric passes it is induced to stand upright, 
though without visible support, and, on a lively 
piece of music being played, dances to it, keeping 
time, and ceasing as soon as the music ceases. 

The secret lies in the fact that, from leg to leg of 
the performer, at about the height of the figure 
from the ground, is fixed (generally by means of a 
couple of bent pins), a fine black silk thread, of 
eighteen or twenty inches in length. This allows 
him to move about without any hindrance. On 
each side of the head of the figure is a little slant- 
ing cut, tending in a perpendicular direction, and 
about half an inch in length. The divided portions 
of the cardboard are bent back a little, thus form- 
ing two ** hooks," so to speak, at the sides of the 
head. When the performer takes his seat, as before 
mentioned, the separation of his legs draws the silk 
comparatively taut, though, against a moderately 
dark background, it remains wholly invisible. 
When he first places the figure on the ground, he 
does so simply, and the figure naturally falls. He 
makes a few sham mesmeric passes over it, but 
still it falls. At the third and fourth attempt, how- 
ever, he places it so that the little hooks already 
mentioned just catch the thread, and the figure is 
thus kept upright. When the music commences, the 
smallest motion, or pretence of 'keeping time with 
the feet, is enough to start the sailor in a vigorous 
ttornpipe. 



CONUNDRUMS AND RIDDI^Ea 249 



CONUNDRUMS AND RIDDLES. 



These are by no means of modern origin: the 
Sphinx puzzled the brains of some of the heroes 
of antiquity, and even Alexander the Great, as it 
is written, made several essays to untie the knot 
(a practical riddle) with which Gordius, the Phry- 
gian king, who had been raised from the plow to 
the throne, tied up his implements of husbandry 
in the temple, in so intricate a manner, that uni- 
versal monarchy was promised to the man who 
could undo it: after having been repeatedly baffled, 
he, at length, drew his sword, considering that he 
was entitled to the fulfillment of the promise, by 
cutting the Gordian knot. 

The modem riddle or conundrum, however, is a 
simpler affair, invented to amuse. We append a 
list of some that will keep the company in good 
humor. The key or solution appears on a later 
page. 

Conundrums. 

1. He loved her. She hated him, but, woman- 
like, she would have him, and she was the death of 
him. Who was he ? 

2. Why is life the greatest of riddles ? 

3. If a church be on fire, why has the organ the 
smallest chance of escape ? 

4. Why should a sailor be the best authority as 
to what goes on in the moon ? 



250 HOW TO AMUSE. 

5. What does a cat have that no other animal 
has? 

6. When is a man behind the times ? 

7. What is the difference between a baby and a 
pair of boots ? 

8. Use me well, and I'm everybody ; scratch my 
back, and I'm nobody. 

9. What word becomes shorter by adding a syl- 
lable to it? 

ID. If a stupid fellow was ^oing up for a compet- 
itive examination, why should he study the letter 
P? 

I r. Why is buttermilk like something that never 
happened ? 

12. Why 3s the letter O the noisest of all the 
vowels ? 

13. Why is a Member of Parliament like a shrimp ? 

14. Why is a pig a paradox ? 

15. Why is a bad half-dollar like something said 
in a whisper ? 

16. Why do black sheep eat less than white ones ? 

17. Why is a barn-door fowl sitting on a gate like 
a halfpenny ? 

18. Why is a man searching for the Philosopher's 
Stone like Neptune ? 

19. What is the difference between a much-worn 
fourpennypiece and a halfcrown ? 

20. Why is the nose placed in the middle of the 
face ? 

21. What is most like a hen stealing ? 

22. What is worse than ** raining cats and dogs ?** 

23. When is butter like Irish children ? 

24. Why is a chronometer like thingumbob ? 

25. Of what color is grass when covered with 
«now? 



CONUNDRUMS AND RIDDLES. 251 

26. Name in two letters the destiny of all earthly 
things ? 

27. What is even better than presence of mind 
in a railway accident ? 

28. What word contains all the vowels in due 
order ? 

29. Why is a caterpillar like a hot roll ? 

30. What is that which occurs twice in a moment, 
once in a minute, and not once in a thousand 
years ? 

31. What is that which will give a cold, cure a 
cold, and pay the doctor's bill ? 

32. What is that which is neither flesh nor bone, 
yet has four fingers and a thumb ? 

33. What is the difference between a rhododen- 
dron and a cold apple- dumpling? 

34. Why has man more hair than woman ? 

35. What is that which no one wishes to have, 
yet no one cares to lose ? 

36. Why is the letter G like the sun ? 

37. Why is the letter D like a wedding-ring? 

38. What sweetens the cup of life, yet, divested 
of its end, embitters the most grateful draught ? 

39. Why should ladies not learn French ? 

40. Which tree is most suggestive of kissing ? 

41. What act of folly does a washerwoman com- 
mit? 

42. Why should a cabman be brave ? 

43. What is the most difficult surgical operation ? 

44. Why is it difficult to flirt on board the P. and 
O. steamers ? 

45. What letter made Queen Bess mind her P*s 
and Q's ? 



252 . HOW TO AMUSfi. 

46. Why is it an insult to a cock-sparrow to mis- 
take him for a pheasant ? 

47. What is that from which the whole may be 
taken, and yet some will remain ? 

48. Why is blind-man's buff like sympathy ? 

49. When may a man be said to have four hands ? 

50. Why is it easy to break into an old man's 
house ? 

51. Why should you not go to London by the 
12.50 train? 

52. Why should the male sex avoid the letter A? 

53. When does a man sneeze three times ? 

54. What relation is the doormat to the scraper ? 

55. Why does a piebald pony never pay toll ? 

56. When does a steamboat captain say that he is 
what he is not ? 

57. Why is the letter S like a sewing-machine ? 

58. Why need France never fear an inundation ? 

59. What is the difference between a cow and a 
rickety chair ? 

60. What flower most resembles a bulPs mouth ? 

61. What does a stone become in the water? 

62. If the alphabet were invited out to dine, 
what time would U, V, W, X, Y, and Z go ? 

63. Why are sailors bad horsemen ? 

64. When was beef- tea first introduced into Bug- 
land? 

65. What letter is the pleasantest to a deaf 
woman ? 

66. Why are ladies like churches ? 

67. When is love a deformity? 

68. Why is a mouse like hay ? 

69. Why is a madman equal to two men ? 



CONUNDRUMS AND RIDDI^ES. 253 

70. Why are good resolutions like ladies fainting 
in church ? 

71. Which is the merriest letter in the alphabet? 

72. Why is a horse like the letter O ? 

73. What is the difference between a bankrupt 
and a feather-bed ? 

74. What is that word of five letters from which, 
if you take away two, only one remains ? 

75. Why is the letter B like a fire ? 

76. What word is pronounced quicker by adding 
a syllable to it ? 

77. Which animal travels with the most, and 
which with the least, luggage ? 

78. How many sticks go to the building of a 
crow*s-nest. 

79. Which is the best-behaved food, cake or 
wine? 

80. Which member of Congress wears the 
largest hat ? 

81. Why are bakers the most self-denying peo- 
ple? 

82. Which of the constellations reminds you of 
an empty fireplace ? 

83. What relation is that child to its own father 
who is not its own father's own son ? 

84. When does a pig become landed property ? 

85. Which is the heavier, the full or the new 
moon? 

86. What is the best way to make a coat last ? 

87. Why is an alligator the most deceitful of 
animals ? 

88. Why are fowls the most profitable of live 
stock ? 

89. What is that which comes with a coach, goes 



254 HOW TO AMUSE. 

with a coach, is of no use whatever to the coach, 
and yet the coach can't go without it? 

90. If your uncle's sister is not your aunt, what 
relation is she to you ? 

91. Why does a duck put its head under water? 

92. Why does it take it out again ? 

93. What vegetable products are the most im- 
portant in history ? 

94. Why is the letter W like a maid of honor ? 

95. What letter is always invisible, yet never out 
of sight ? 

96. What is an old lady in the middle of a river 
Hke? 

97. Why are B and I the happiest of the vow- 
els? 

98. Why is the letter F like a cow's tail ? 

99. On which side of a pitcher is the handle ? 

100. What is higher and handsomer when the 
head is off ? 

loi. Why is a pig in a parlor like a house on 
fire? 

102. What is the keynote to good breeding ? 

103. What is the best thing to make in a hurry ? 

104. What Queen Mary, of England, had be- 
fore, poor thing ! what King William had behind, 
poor thing ! what Queen Anne never had at all, 
poor thing ! 

105. What do you add to nine in order to make 
it three less ? 

106. Why is a tallow-chandler like a villain ex- 
posed? 

107. What ie it that walks with its head down- 
wards? 



CONUNDRUMS AND RIDDLES. 255 

108. Why could not Lord Beaconsfield insure 
his life ? 

109. Why is a lame dog like a schoolboy adding 
six and seven together ? 

I ID. Why is the Brooklyn Bridge like merit ? 

111. What we all require, what we all give, what 
we occasionally ask for, yet very seldom take ? 

1 12. A man remarks, looking at a portrait, 
** Uncles and brothers have I none, but that man's 
father is my father's son." What relation is the 
original of the portrait to the speaker ? 



113. 

Formed long ago, yet made to-day ; 

Employed while others sleep ; 
What few would wish to give away, 

Yet no one cares to keep ? 



114. What did Adam first plant in the Garden of 
Eden ? 

115. Four men went to sea on a marble slab. 
.The first had no eyes, the second had no hands, the 

third had no legs, and the fourth was naked. The 
first saw a bird, the second shot it, the third ran and 
picked it up, and the fourth put it in his pocket. 
What is that? 

116. What is Majesty, deprived of its exter- 
nals? 

117. If you saw an egg on a music-stool, what 
great poem would it remind you of ? 



256 HOW TO AMUSB- 



Il8, 

Can yon tell me why 
A hypocrite's eye 
Could better descry 
Than you or I 
On how many toes 
A pussy-cat goes ? 

119. How would you make a thin man fat? 

120. What is the difference between a young 
maid of sixteen and an old maid of sixty ? 

121 . When was fruit known to use bad language ? 

122. If a man gets up on a donkey, where should 
he get down ? 

123. Why were Adam and Eve a grammatical 
anomaly ? 

124. What is lengthened by being cut at both 
ends? 

125. Why are men like gooseberries? 

126. Why should you never write a secret with ft 
quill-pen ? 

127. ** I am what I am ; I am not what I follow. 
If I were what I follow, I should not be what I am/* . 
What is it? 

128. Which is the most cautious of birds? 

129. Which is the strongest day of the week ? 

130. If a pig wanted to build himself a house, 
how would he set about it ? 

131. Why does a donkey prefer thistles to 
oats? 

132. Where can you always find sympathy ? 



CONUNDRUMS AND RIDDLES, 257 

133. What is the difference between a lady and a 
looking-glass ? 

134. Why need a man never starve in the desert ? 

135. Why are oysters the best food for dyspeptic 
people ? 



136. 

If by chance a man falls 
From the top of St. Paul's^ 
What does he fall against ? 

137. What was Joan of Arc made of? 

138. Why is a kitten biting her own tail like a 
good manager ? 

139. Why is the figure 9 like a peacock ? 

140. Why did Adam bite the apple when U"^^ 
gave it to him ? 

141. Which are the most contented birds? 

142. What anitsals have only one leg between 
them ? 



Enigmas. 

143. In my ^rsi my second sat ; my third ai3d 
fourth I ate. 

144. 

Cut off my head, and singular I seem ; 
Cut off my tail, and plural I appear ; 



^58 HOW TO AMUSE. 

Cut off both head and tail, and — wondrous to 
relate ! — 
Although my middle's left, there's nothing 
there. 
What is my first? It is a sounding sea, 
What is my last ? It is a noble river, 
/ And in their mingling depths I sportive play, 
Parent of sweetest sounds, though mute for 
ever. 

145. 

Cato and Chloe, combined well together, 
Make a drink not amiss in very cold weather. 

146. 

My firsfs the joy of every cozy dame, 
And in my second o'er to England came. 
My whole of every household forms a part. 
Thou art not Science, but thou teachest art. 



147. 

My first is won, and never lost, 
Reversed, it's now before ye ; 

My next^ reversed, is red as blood 
In veins of Whig or Tory, 

My whole's so wond'rous strange, that I 

Must candidly confess it, 
Though you're ingenious, it will be 

A wonder if you guess it. 



CONUNDRUMS AND RIDDLES. 259 
148. 

If I bad been in Stanley's place, 
Wben Marmion urged bim to tbe cbase, 
A tbing you quickly would espy 
Would bring a tear to many an eye. 

149. 

You eat me, you drink me, deny it who can, 
I*m sometimes a woman and sometimes a matu 



150- 

The beginning of eternity, tbe end of time and 

space, 
The beginning of every end, and tbe end of every 

place. 

151. My first I hope you are ; my second I see 
you are ; my whole I know you are. 

152. My first is French, my second English, and 
my whole i/atin. 



153. 

My first tbe fair Ophelia gave tbe Queen ; 
My next a steed, as ancient legends make it ; 
If fair Ophelia's gift my whole had been, 
Pray, would her majesty do right to take it? 



26o KOW TO AMUSE. 

The following fine example of the charade is from 
tHe facile pen of W. M. Praed : 



154. 

**The canvas rattled on the mast 
As rose the swelling sail, 
And gallantly the vessel passed 

Before the cheering gale. 
And on r^y first Sir Florice stood. 
As the far shore faded now, 
. And looked upon the lengthening flood 
With a pale and pensive brow. 

* When I shall bear thy silken glove 

Where the proudest Moslems flee. 
My ladye-love, my ladye-love. 
Oh, waste one thought on me I * 

** Sir Florice lay in a dungeon-cell, 

With none to soothe or save, 
And high above his chamber fell 

The echo of the wave ; 
But vStill he struck my second there, 

And bade its tones renew 
Those hours when every hue was fair. 

And every hope was true. 

• If still your angel footsteps move 

Where mine may never be, 
My ladye-love, m}^ ladye love, 
Oh. dream one dream of me !* 



CONUNDRUMS AND RIDDLEa 261 

** Not long the Christian captive pined, 

My whole was round hig neck, 
A sadder necklace ne^er was twined 

So white a skin to deck. 
Queen Folly ne^er was yet content 

With gems or golden store ; 
But he who wears this ornament 

Will rarely sigh for more. 
• My spirit to the heaven above, 

My body to the sea. 
My heart to thee, my ladye-love, 

Oh, weep one tear for me 1 * *' 

We cannot better conclude than with the beauti- 
f«l, though hackneyed, enigma on the letter H, 
one of the most perfect ever written. The honor 
of its authorship belongs to Miss Ferrier. 



155. 

***Twas whispered in Heaven, 'twas muttered in 
Hell, 

And Echo caught faintly the sound as it fell ; 

On the confines of Earth 'twas permitted to rest, 

And the depths of the Ocean its presence confessed. 

'Twill be found in the sphere when 'tis riven asun- 
der, 

Be seen in the lightning, and heard in the thunder ; 

*Twas allotted to man with his earliest breath, 

Attends at his birth, and awaits him in death ; 

Presides o'er his happiness, honor and health, 

Is the prop of his house and the end of his wealth. 



262 HOW TO AMUSE. 

In the heaps of the miser 'tis hoarded with care. 
But is sure to be lost by his prodigal heir. 
It begins every hope, every wish it must bound ; 
With the husbandman toils, with the monarch is 

crowned ; 
Without it the soldier, the sailor may roam. 
But woe to the wretch who expels it from home ! 
In the whisper of conscience its voice will be found. 
Nor e'en in the whirlwind of passion be drowned. 
'Twill not soften the heart ; but, though deaf to 

the ear, 
'Twill make it acutely and instantly hear. 
In shade let it rest — like a delicate flower. 
Or breathe on it softly, it dies in an hour ! '• 



Answers to Conundrums, Enigmas, Etc 

1. A flea. 

2. Because we must all give it up. 

3. Because the engine cannot play upon it. 

4. Because he has been to sea (see). 

5. Kittens. 

6. When he's a weak (week) back. 

7. One I was and the other I wear. 

8. A looking-glass. 

9. Short. 

ID. Because P makes **ass" "pass.** 
II. Because it hasn't a curd (occurred). 



CONUNDRUMS AND RIDDLES. 263 

12. Because all the rest are in-audible. 

13. Because he has M. P. at the end of his name. 

14. Because it is killed first and cured afterward. 

15. Because it is uttered, but not allowed (aloud). 

16. Because there are fewer of them. 

17. Because its head is on one side and its tail on 
the other. 

18. Because he is a-se eking (sea-king) what never 
was. 

19. Two-and-twopence. 

20. Because it's the scenter (centre). 

21. A cock robbing (cock-robin). 

22. Hailing omnibuses. 

23. When it is made into little pats. 

24. Because it's a watch-you may-eall-it. 

25. Invisible green. 

26. DK. 

27. Absence of body. 

28. Facetiously. 

29. Because it's the grub that makes the butter- 
fly. 

30. The letter M. 

31. A draught (draft). 

32. A glove. 

33. The one is a rhododendron and the other is a 
cold apple-dumpling. (You surely wouldn't wish 
for a greater difference than that. ) 

34. Because he's naturally her suitor (hirsuter). 

35. A bald head. 

36. Because it is the centre of light. 

37. Because we cannot be wed without it 

38. Hope — hop. 



264 HOW TO AMUSE. 

39, Because one tongue is enough for any 
woman. 

40, Yew. (This is a riddle which should be used 
with due precaution. ) 

41. Putting out tubs to catch soft water when it 
rains hard. 

42. Because none but the brave deserve the fair 
(fare). 

45. To take the jaw out of a woman. 

44. Because all the mails (males) are tied up in 
bags. 

45. R made her (Armada). 

46. Because it is making game of him. 

47. The word ** wholesome.^' 

48. Because it is a fellow feeling for another. 

49. When he doubles his fists. 

50. Because his gait (gate) is broken and hia 
locks are few. 

51. Because it is ten to one if you catch it. 

52. Because it makes men mean. 

53. When he cannot help it. 

54. A step farther (step-father). 

55. Because his master pays it for him. 

56. When he says he's a bacca'-stopper (ease her, 
back her, stop her). 

57. Because it makes needles needless. 

58. Because in France all the water is *' Teau." 

59. The one gives milk and the other give^ whey 
(way). 

60. A cowslip. 

61. Wet. 

62. They would go after tea (T). 

63. Because they ride on the main (mane)» 



CONUNDRUMS AND RIDDLES. 265 

64. When Henry VIII. dissolved the Pope*s bulL 

65. A, because it makes her hear. 

66. Because there is no living without them., 

67. When it is all on one side. 

68. Because the cat '11 (cattle) eat it. 

69. Because he is one beside himself. 

70. Because the sooner they are carried out the 
better. 

71. U, because it is always in fun. 

72. Because Gee (G) makes it Go. 

73. The one is " hard up '* and the other soft 
down. 

74. Stone. 

75. Because it makes oil boiL 

76. Quick. 

77. The elephant the most, because he never 
travels without his trunk. The fox and the cock 
the least, because they have only one brush and 
comb between them. 

78. None ; they are all carried to it. 

79. Cake, which is only occasionally ''tipsy/^ 
while wine is always drunk. 

80. The one who has the largest head. 

8r. Because they sell what they knead (need) 
themselves. 

82. The Great Bear (grate bare). 

83. His daughter. 

84. When he is turned into a meadow. 

85. The new moon ; because the full moon is a 
great deal lighter. 

86. Make the waistcoat and trousers first. 

87. Because he takes you iu with an open counte- 
nance. 



s66 HOW TO AMUSE. 

S8. Because for every grain they give a peck. 

89. Noise. 

90. Your mother. 

91. For divers reasons. 

92. For sun-dry reasons. 

93. Dates. 

94. Because it is always in waiting, 

95. The letter I. 

96. Like to be drowned. 

97. Because they are in happiness, while all the 
ffest are in purgatory. 

98. Because it is the end of beef. 

99. The outside. 

100. Your pillow. 

loi. Because the sooner it is put on the better. 

102. B natural. 

103. Haste. 

104. The letter M. 

105. The letter S. S(IX). 

106. Because his wicked works are brought to 
UghU 

107. A nail in a shoe, 

108. Because no one was clever enough to make 
out his policy, 

109. Because he puts down three and carries one. 

1 10. Because it is very often passed over. 

111. Advice. 

112. His son. 

113. A bed. 

114. His foot. 

115. A lie, of course. 

116. A jest. 



CONUNDRUMS AND RIDDI^ES. 267 

117. ** The Lay of the Last Minstrel/* 
liS, A man used to deceit. 

Can best counterfeit (count her feet) ; 

And so, I suppose, 

He could best count her toes. 

119. Throw him out of a second-story window, 
and let him come down plump. 

120. The one is happy and careless the other 
cappy and hairless. 

1 21. When the first apple cursed the first pair 
(pear). 

122. From a swan's breast. 

123. Because they were two relatives without an 
antecedent. 

124. A ditch. 

125. Because women make fools of them. 

126. Because it is apt to split 

127. A footman. 

128. The dove, because she minds her peas and 
coos (p's and q's). 

129. Sunday, because all the others are weak days. 

130. Tie a knot in his tail, and call it a pig's 
tie (pig-stye). 

131. Because he's an ass. 

132. In the dictionary. 

133. The one speaks without reflecting, the other 
reflects without speaking. 

134. Because he can always eat the sand which 
is (sandwiches) there. 

135. Because they die just (digest) before they 
eat them. 

136. Against his inclination. 



268 HOW TO AMUSE. 

137. Maid of Orleans, of course. 

T38. Because she makes both ends meet. 

139. Because without a tail it is nothing. 

140. Because he had no knife. 

141. Rooks, because they never complain with- 
out caws. 

142. A pair of post-horses (which have only the 
postilion's leg between them). 

143. Insatiate, 

144. Cod. 

145. Chocolate. 

146. Tea-chest. 

147. Won-der. 

148. On ! Stanley I on ! — On-i-on.. 

149. A toast. 

150. The letter B, 

151. Wei -come, 

152. I^a-tin. 

153. Rhu-barb, 

154. Bow-string, 

155. The letter H. 



REBUSSES. 

THB FOI.I/)WING ARE RKBUSSE^ ON THE NAMES 
01^ BIRDS. 

1. A child's plaything. 

2. What we all do at every meal. 

3. A disorder incident to man and horse. 



REBUSSES. 269 

4. Nothing, twice yourself, and fifty. 

5. What we should always be ready to do to 
persons fighting, and the top of a house. 

6. Equality and decay. 

7. A celebrated English architect, 

8. A tailor's implement. 

9. A lever. 

10. An instrument for raising weights. 

11. Three-eighths of a monthly publication, with 
a baked dish. 

12. A valuable species of corn, and a very neces- 
sary part of it. 

13. A cheated person. 

14. A distant country. 

15. Spoil half a score. 

16. The defence of a bridge. 

17. An instrument of diversion for men and boys. 

18. A piece of wood, and a fashionable name for 
a street. 

19. To cut off, and a vowel. 

20. A piece of land, and a good thing which it 
produces. 

2 r. What we say a person has got when he falls 
into the water. 

22. An Animal which a Jew must not eat, a 
vowel, and a preposition. 

23. 

I am found in a jail ; I belong to a fire ; 
And am seen in a gutter abounding in mire : 
Put my last letter third, and then 'twill be found 
I belong to a king, without changing my sound. 



270 HOW TO AMUSE. 

24. 

Ye rebus wits, 
Now mind your hits ; 
For your's the task 
My name to unmask : 
A fruit we eat, 
As sauce to meat ; 
And with fish too, 
That wants a gout ; 
One letter, pray, 
Take quite away ; 
A point of land 
You'll understand 
Which sailors dread 
Too near their lead. 
But when embayed, 
Knjoy its shade : 
One more letter 
Then unfetter 
The thing that's left. 
When thus bereft, 
Is worn by all, 
Both great and small, 
From king and queen 
To beggar mean. 



ANAGRAMS. 



1. Ten tea pots. 

2. Sly Ware, 

3. It*s in charity. 



ANAGRAMS. 27a 



4. Golden land. 

5. Great helps. 

6. Rare mad frolic. 

7. Honor est a Nilo. 

8. Hard case. 

9. Claims Arthur's seat, 

10. No, appear not at Elba, 

11. No more stars. 

12. O poison Pitt. 

13. I hire parsons, 

14. Got as a clue. 

15. To love ruin. 

16. Best in prayer. 

17. Nay, I repent it. 

18. Veto. Un corse la finira. 

19. Comical trade. 

20. Spare him not 

21. Real fun. 

22. In Magic tale. 

23. Kvil fast. 

24. Yes Milton. 

25. 'Tis ye govern. 

26. See a pug dog. 

27. A just master. 

28. Made in pint pots, 

29. A hot pen. 

30. I call many sot, 

31. A nice Pet. 

32. The bar. 

33. The law. 

34. Truly he'll see war. 



272 HOW TO AMUSE. 

55, I send into Siam. 

36. True, I am in. 

37. Hire a prison. 
58. There we saU 



LOGOGRIPHS. 



A creature was formerly seen in England, which 
has lately been expelled from it, and which has 
some very peculiar properties appertaining to it 
It stands upon one leg, — on which, without any 
hody, is seen a great square head. It has three 
«yes, of which the centre is by far the largest ; in- 
deed so much so, that it has before now contained 
two more. The head is of a very peculiar construc- 
tion, but exactly suited to its design : whenever it 
is about to be used, it is separated in halves, and, 
when reconnected, is held up to the gaze of an in- 
solent rabble. All the notice, however, which it 
generally attracts, results from its being the effec- 
tual means of exhibiting another to the gaze of a 
hostile crowd. Such is this when entire ; but when 
divided, and cut to pieces, a curious and careful 
observer may collect all that follows, by a selection 
and appropriate arrangement of its fragments. 

A dose of medicine conveyed in a very agreeable 
manner, as, however nauseous its ingredients may 



LOGOGRIPHS. 275 

have originally been, it is quite tasteless. Such a 
state of the physical powers as requires such a dose. 
A part of the face, of a color quite different from 
the rest, and the more handsome, the greater the 
difference. A public record on which many are 
very anxious to get their names entered ; or, to 
descend from great things to small, a substance that 
is devoured every morning for breakfast. A river 
which flows through a very delightful and agree- 
able part of Europe. What curious people are very 
fond of doing. What a candidate, for your vote at 
the next general election, if he should think it 
worth his while, will demand. A very poetical 
portion of the watery element, which murmurs and 
meanders in the description of many a poetaster. 
A quality of resinous substances. A female nick- 
name. What is very necessary to be done occa- 
sionally in your shrubbery. An exclamation of 
surprise. A flower displaying more to admire than 
Solomon in all his glory. To tear. The expressed 
juice of olives, — and its adjective. A conjunction. 
And two initial letters, whose reiterated sounds 
have drowned the voices of strutting monarchs and 
ephemeral heroes. 

2. 

Ye who in mystic lines delight, 
Unveil and bring me forth to light, 
Nor deem me tiresome, if my song 
Should, like myself, prove wondrous long. 
It may perhaps excite your mirth, 
That animals to me give birth ; 



274 HOW TO AMUSE. 

Yet vegetables oftener claim 

The honor to produce the same. 

One time as white as snow I'm seen, 

Another, red, blue, yellow, green ; 

The friendly brown I also wear, 

Or in a sable garb appear : 

The rhetorician owns my power. 

For though well dressed with many a flower 

His florid speech would gain no praise, 

But, losing me, contempt would raise. 

But now my name you surely know, 

Dissected in the lines below. 

That power to which we all must bend ; 

And what we call a valued friend ; 

A goddess of revengeful fame ; 

And Abram's near relation's name ; 

Two articles in common use ; 

And what we oft complain of news ; 

A weed which grew upon the plain, 

Suffer' d till harvest to remain ; 

Two quadrupeds will next appear, 

Which both conduce to sport and cheer ; 

A third, a noxious liftle creature ; 

And what adds charms to simple nature ; 

A fruit ; a color ; and a date 

A firm support of Britain's state ; 

What high, yet low, we wish to be ; 

A term for one who goes to sea ; 

One thing another oft put over ; 

Two things by this you may discover,— 

To make my hint somewhat more plain, 



LOGOGRIPHS. 275 

One keeps the other from the rain ; 

The vital spring of every woe ; 

And every pleasure that we know ; 

What's always done whene'er we walk ; 

And what we do when others talk ; 

With what we've done when they give o'er 

Two notes in music next explore ; 

What, join'd to homey is sent about. 

As invitation to a rout ; 

What oft we see upon the plain ; 

Two little words denoting pain, 

Or quick surprise, or laughter vain 

A sign of sorrow ; mark of spirit ; 

What envy bears superior merit ; 

A fragrant shrub we oft infuse : 

Two pronouns in most frequent use ; 

A passion which the envious feel ; 

A weapon pointed oft with steel ; 

One of the properties of stone ; 

A term for misanthrope well known ; 

What oft in summer months we feel ; 

What aids when secrets you reveal ; 

What sinful deeds should ever be ; 

What's daily done by you and me. 

If all these meanings you expound. 

Just five and forty will be found. 



I was before the world begun, 
Before God made the rising sun ; 



376 HOW TO AMUSK. 

Before He made the lesser lights 
To drive the darkness from the nights. 
I*m at the bottom of the sea, 
And I am in immensity ; 
The daily motion of the earth 
Dispels me, and to me gives birth ; 
You cannot see me if you try. 
Although I'm oft before your eye. 
Such is my whole* But for one part 
YouUl find in taste I'm rather tart; — 
Now I become th' abode of men, — 
And now for meaner things, a pen ; 
I am a man who lives by drinking, — 
Anon I keep a weight from sinking ; 
To take me, folks go far and near, 
I am what children like to hear ; 
I am a shining star on high, 
And I'm its pathway through the sky ; 
I take the strength from iron and steel,- 
Am sometimes left behind a wheel ; 
I am a term of due respect, — 
Am used in English to connect ; 
I'm made to represent a head, — 
Am found on every loaf of bread. 
Such are the many forms I take, 
All these, and many more I make; 
Yet, after all, so strange am I, 
Soon as you know me, then I die. 



LOGOGRIPHS, 277 

4 
The man of letters finds me in his books ; 
The angler by the side of babbling brooks ; 
The sportsman seeks me with his dog and gun ; 
In foreign lands the traveler thinks I*m won ; 
The spendthrift hopes to buy me with his gold ; 
And childhood has me when a tale is told ; 
The love of me decoys the giddy youth. 
From useful studies, till he learns this truth, 
"All those who seek me only^ most I fly ; *' 
Lastly, when you my hidden sense descry, 
You'll own that for my sake you pondered long 
The countless changes, that to me belong. 
Such am I as a whole — but for one part, — 
The youth invokes me when he feels love's dart ; 
The Swiss, when exiled from his native vales, 
Hears me with anguish, and his fate bewails ; 
New zest I add to scandal's busy hour ; 
And adverse winds and tides confess my power ; 
I am the dazzling source whence colors flow ; 
The sluggard's teacher ; and your equal now ; 
Without me sails were useless ; then a word 
Expressing like ; and now meek woman's lord ; 
To measure next ; anon to add ; to vex ; 
The gentle office of the weaker sex ; 
I'm flesh, not fish — I'm silent ever ; 
Sought by all ranks, on earth found never ; 
Your near relation, and the squirrel's food ; 
What you would keep when in a lazy mood ; 
Neptune's abode ; the forest monarch's pride ; 
A term to the departed souls applied ; 



278 HOW TO AMUSE. 

What you possess, but others oftener use ; 
Your coat must have me, spite of what you choose ; 
Now the soft clime of '* the cedar and vine ; " 
And last, a short word importing new wine. 
More could I tell, but I bid you adieu, 
Lest by prating I cause my own loss to you. 



SOLUTIONS TO REBWSSBS. 

1. Kite. 

2. Swallow. 

3. Thrush. 

4. OWL. 

5. Partridge. 

6. Parrot. 

7. Wren. 

8. Goose. 

9. Crow. 

10. Crane. 

11. Magpie. 

12. Wheatear. 

13. Gull. 

14. Turkey. 

15. Marten. 

16. Starling. 

17. Bat. 

18. Sparrow. 

19. Snipe. 

20. Fieldfare. 



SOLUTIONS. 279 



21. Duck. 

22. Pigeon. 

23. Grate; great 

24. Caper; cape; cap. 



SOLUTIONS TO ANAGRAMS. 



I, 


, Potentates, 


2. 


Lawyers. 


3. 


, Christianity. 


4. 


Old England. 


5. 


, Telegraphs. 


6. 


Radical reform. 


7. 


Horatio Nelson. 


8. 


Charades. 


9. 


Charles James Stuart 


10. 


Napoleon Bonaparte. 


ir. 


Astronomers. 


12. 


The opposition. 


13. 


Parishioners. 


14. 


Catalogues. 


15. 


Revolution. 


16. 


Presbyterian. 


17. 


Penitentiary. 


18. 


La Revolution Fran^aise, 


19. 


Democratical. 


20. 


Misanthrope. 



28o HOW TO AMUSE. 

21. Funeral. 

22. Enigmatical, 

23. Festival. 

24. Solemnity. 

25. Sovereignty. 

26. Pedagogues. 

27. James Stuart. 

28. Disappointment. 

29. Phaeton. 

30. Monastically. 

31. Patience. 

32. Breath. 

33. Wealth. 

34. Arthur Wellesley. 
• 35. Dissemination. 

36. Miniature. 

37. Parishioner. 

38. Sweetheart 



SOIvUTIONa 281 



SOLUTIONS TO LOGOGRIPHS. 

1. Pillory : in which may be found pill ; ill ; lip* 
roll ; Po ; pry ; poll ; rill ; ropy ; Polly ; lop ; lo ; lily ;. 
rip ; oil ; oily ; or ; O. P. 

2. Thread : in which may be found, death ; dear ;. 
Ate ; Terah ; the ; dearth ; tare ; hare ; hart ; rat; 
art ; a ; date ; red ; era ; trade ; rated ; tar ; hat ; head; 
heart ; tread ; hear ; heard ; re ; da ; at , herd ; ah ; 
ha ; tear ; dare ; hate ; tea ; her ; eh ; hated ; dart ; 
hard ; hater ; heat , ear ; hatred ; eat. 

3. Obscurity : in which may be found, sour ; city ; 
sty ; sot ; buoy ; tour ; story ; orb : orbit ; rust ; rut ; 
sir ; or ; bust : crust. 

4. Amusement : in which may be found, Muse ; 
tea ; stream ; sun ; ant ; mate ; mast ; as ; man ; 
mete ; sum ; tease ; amuse ; meat ; mute ; ease ; 
aunt ; nut ; seat ; sea ; mane ; manes ; name ; seam ; 
east ; strum. 

Some persons cannot, without considerable diffi- 
culty, find the proper answer to an enigma or a 
rebus ; while others, of no greater general acute- 
ness, do so with ease. It is no proof, therefore, of 
inferiority, not to be able to reply to a quaint co- 
nundrum, so quickly as another. Many young 
people have displayed much ingenuity in the 



1282 HOW TO AMUSE. 

construction of diflferent sorts of riddles in rhy*ne, 
—they are, in general, the most happy in solving 
those of others. The admirers of these frequently 
amusing trifles, consider opposition in their com- 
ponent parts, or curious combinations, to be most 
essential in the construction of good riddles. 



CHARADES. 283 



CHARADES. 

In some form or other, the game of charades is 
played in almost every country under the sun. 
The most popular form is as follows : 

Send one-half the company out of the room, the 
others remaining as audience. Rooms separated 
by double doors or portieres are best for the scene 
of action. 

The party outside thinks of some word which 
can be represented entire, in pantomime or tab- 
leau. Thus, the door opening, discloses a half 
dozen young girls standing in a line, while one 
of the acting party announces that this striking 
tableau represents the name of a famous orator. 
The audience failing to guess, is told that Cicero 
(Sissy-row) is the man. 

Again just as the clock strikes ten, the doors open- 
ing, reveal a lady eating an apple or any convenient 
edible, while a gentleman who stands near, points 
to the clock and then at her. This being correctly 
guessed to represent * * attenuate, " ( at ten you ate ) 
the other side goes from the room and the pre- 
vious performers become the audience. 

There are a host of words which, with a little 
ingenuity and the aid of a dictionary, may be 
turned to account. For example : 

Ingratiate. (In grey she ate. ) 



284 HOW TO AMUSE. 

Catering. (Kate. Her ring.) 

Hero. (He row.) 

Tennessee. (Ten, I see.) 

And so on. Clever players will devise new and 
amusing combinations in the game. 

Charades may be performed after a variety of 
different fashions. First is the highly finished 
charade, with speech and action carefully prepared 
and duly rehearsed. Secondly, the spoken cha- 
rade, got up on the spur of the moment, words and 
action alike ex tempo^^e. We have seen a good 
deal of fun got out of charades of this description ; 
but unless the actors are of more than average 
ability, and have some little dramatic experience, 
the chances are much against any very satisfactory 
result. On the whole, we should strongly recom- 
mend, that where a charade is got up ex tempore^ 
it should be acted in pantomime only. It is of 
course understood that, whatever be the particular 
mode of performance, a charade always represents 
a *' word " to be guessed, with one scene to each 
syllable (or group of consecutive syllables), and a 
final scene representing the whole word. The suc- 
cessive scenes are sometimes wholly independent 
of each other, but in the more finished class of 
charades are made parts of a complete dramap 
The following are good charade words : — 

Knighthood, Infancy, 

Penitent, Snow-ball, 

Looking-glass, Definite, 

Hornpipe, Bowstring, 

Necklace, Carpet, 

Indolent, Sunday, 

Light-house, Shylock, 

Hamlet, Earwig, 

Pantry, Matrimony, 

Phantom, Cowhiding, 

Windfall, Welcome, 



CHARADES. 285 

Sweepstake, Friendship, 

Sackcloth, Horsemanship, 

Antidote, Coltsfoot, 

Antimony, Bridegroom, 

Pearl-powder, Housemaid, 

King-fisher, Curl-papers, 

Football , Crumpet. 
Housekeeping, 

It will be obvious that in some of these instances, 
as, for instance, "Sweepstake,'* "Housekeeping,'' 
two syllables must be taken together to supply the 
7noHf for a single scene. 

We will take the word " Windfall,' as affording 
a ready illustration of the pantomime cl^arade, and 
be it remembered that, in charades of this descrip- 
tion, the shorter and simpler the action the better. 
Thus the scene, '* Wind,'' may be represented by a 
German Band, puffing away at imaginary ophi- 
cleides and tromb 'nes, with distended cheeks snd 
frantic energy, though in perfect silence. The 
next scene, " Fall," may be a party of boys on a 
slide, who '* keep the pot-a-boiling " for a moment 
or two, and then exeunt. Enter an elderly gentle- 
man, with umbrella up ; walks unsuspectingly on 
to the slide, and falls. It should be mentioned, 
that the expedient adopted in the very early days 
of the drama, of putting up a placard to notify, 
**This is a street." "This is the quarter-deck of 
the Baltimore ^^^ is quite correct in the case of a 
pantomime charade The complete word, "Wind- 
fall," may be represented by a young man sitting 
alone, leaning his elbows on his hands, and having 
every appearance of being in the last stage of im- 
pecuniosity. To produce this effect, he may go 
through a pantomime of examining his purse and 
showing it empty, vsearching his pockets, and turn- 
ing them one by one inside out, shaking his head 
mournfully, and sitting down again, throwing into 



286 HOW TO AMUSE. 

his expression as much despair as he conveniently 
can. A letter carriers whistle is heard ; a servant 
enters with a legal-looking letter. The impecuni- 
ous hero, tearing it open, produces from it a roll of 
bank-notes (these, if a due supply of the genuine 
article does not happen to be readily obtainable^ 
may be of the '*Bank of Elegance " description), 
and forthwith gives way to demonstrations of the 
most extravagant delight, upon which the curtain 
falls. 

A very absurd, but not the less meritorious, 
charade of this class is represented as follows: — 
The curtain rises (i. e. , the folding-doors are thrown 
op^n), and a placard is seen denoting, *'This is; 
Madison Square," or any other place where pro- 
fessional men most do congregate. Two gentle- 
men in out-door costumes cross the stage from 
opposite sides, and bow gravely on passing each 
other, one of them saying, as they do so, " Good- 
morning, doctor.'* The curtain falls, and the 
audience are informed that the charade, which 
represents a word of six syllables, is complete in 
that one scene. When the spectators have guessed, 
or been told that the word is " met-a-physician,'^ 
the curtain again rises on precisely the same scene^ 
and the same performance, action for action, and 
word for word, is repeated over again. The audi- 
ence hazard the same word *' metaphysician," as- 
the answer, but are informed that they are wrong, 
— the word now represented having only three syl- 
lables, and they ultimately discover that the word is 
** metaphor" (met afore). 

In another charade of similar character, if the 
audience be classically inclined, when the curtain 
rises, nothing is seen but a little toy wooden horse, 
such as can be bought for fifty cents. The specta- 
tors are told that this forms a word of two syllables, 
representing an island in the ^gean Sea. If the 
spectators are well up in ancient geography, they 



CHARADES. 287 

may possibly guess that Delos (deal 'oss) is referred 
to. The curtain falls, and again rises on the same 
contemptible object, which is now stated to repre- 
sent a second island in the same part of the world. 
The classical reader will at once see that Samos 
(same *oss) is intended. Again the curtain rises 
on the representation of another island. Tzvo 
little wooden horses now occupy the scene, Paros 
(pair 'oss) being the island referred to. Once 
more the curtain rises, this time on a group of 
charming damsels, each reclining in a woe-begone 
attitude, surrrounded by pill-boxes and physic- 
bottles, and apparently suffering from some pain- 
ful malady. This scene represents a word of three 
syllables, and is stated to include ail that has gone 
before. Cyclades (sick ladies), the name of the 
group to which Delos, Samos, and Paros belong, 
is of course the answer. 

Another comical charade is a performance rep- 
resenting the word *' imitation." The spectators 
are informed that the charade about to be per- 
formed can only be exhibited to one person at a 
time. One person is accordingly admitted into the 
room in which the actors are congregated. The 
unhappy wight stares about him with curiosity, not 
unmingled with apprehension, fearing to be made 
the victim of some practical joke; nor is his com- 
fort increased by finding that his every look or 
action is faithfully copied by each person present. 
This continues until he has either guessed or given 
up the word, when a fresh victim is admitted, and 
the new initiate becomes in turn one of the actors. 
Sometimes, however, the victim manages to turn the 
laugh against his persecutors. We have known a 
young lady, seeing through the joke, quietly take 
a chair, and remain motionless, reducing the mat- 
ter to a simple trial of patience between herself 
and the company. 

Acted charades, to be successful, demand much. 



288 HOW TO AMUSE. 

care and preparation . There are n umerous printed 
collections of charades of this kind, obtainable 
from any bookseller. Whatever be the charade 
selected, we cannot too strongly impress upon 
the reader the advantage of frequent and careful 
rehearsal. 



JUVKNII^E GAMKS. 289 



JUVKNIIvB GAMES. 



** What d'yk Buy? '* 

This game may be played by any number from 
three to thirteen. There are a dozen good-sized 
pieces of cardboard, each bearing a colored illustra- 
tion of onp of the *' trades " following : viz., a mil- 
liner, a fishmonger, a greengrocer, plumber, a 
music-seller, a toyman, mason, a pastrycook, a 
liard ware-man, a tailor, a poulterer, and a doctor. 
Besides these there are a number of smaller tickets, 
half a dozen to each trade. Each of these has the 
name of the particular trade and also the name of 
some article in which the particular tradesman in 
question may be considered to deal. A book 
accompanies the cards, containing a nonsense 
story, with a blank at the end of each sentence. 

One of the players is chosen as leader, and the 
others each select a trade, receiving the appropri- 
ate picture, and the six cards containing the names 
of the articles in which the tradesman deals. He 
places his '*sign" before him on the table, and 
holds the remainder of his cards in bis hand. The 
leader then reads the story, and whenever he comes 
to one of the blanks, he glances towards one of the 
other players, w^ho must immediately, under pen- 
alty of a forfeit, supply the blank with some article 
he sells, at the same time laying down the card 
bearing its name. The incongruity of the article 
named with the context make the fun of the game, 
which is heightened by the vigilance which each 
player must exercise in order to avoid a forfeit. 



290 HOW TO AMUSE. 

Where the number of players is very small, eacb 
may undertake two or more trades. 

We will quote a small portion of the story, by 
way of illustration. The concluding words indicate 
the trade of the person at whom the leader glances 
to fill up a given hiatus. 

' ' Ladies and gentlemen, I propose to relate some 
curious adventures which befell me and my wife 
Peggy the other da}^ but as I am troubled with a 
complaint called * Non mi ricordo,* or the * Can't 
remembers/ I shall want each of you to tell me 
what you sell: therefore when I stop and look at 
one of you, you must be brisk in recommending 
your goods. Whoever does not name something 
before I count ' three ' must pay a forfeit. Atten- 
tion ! 

' ' Last Friday week I was awoke very early in the 
morning by a loud knocking at my door in 
HumguiSn Court. I got up in a great fright, and 
put on " — (looks at Toyman, who replies, *' a foors 
cap and bells," and lays down that card). 

' ' When I got downstairs, who should there be 
but a fat porter, with a knot, on which he carried"^ 
— (Poulterer) * ' a pound of pork sausages. '^ 

' * * Hallo ! ' said I, my fine fellow, what do you 
want at this time of day?* He answered" — 
(Fishmonger) ' A cod's head and shoulders." 

"*Get along with you,' I said; * there's my 
neighbor. Dr. Drenchall, I see, wants' '' — (Butcher) 
*' a sheep's head." 

** I now went up to shave, but my soap-dish was 
gone, and the maid brought me instead" — (Mil- 
liner) ** a lady's chip hat." 

"My razor had been taken to chop firewood, so 
I used " — (Greengrocer) *' a cucumber." 

" I then washed my face in " — (Doctor) " a cup 
of quinine," "cleaned my teeth with" — (Fish- 
monger) "a fresh herring," and ** combed my 
hair with" — (Pastrycook) *' a jam tart." 



JUVENIIyE GAMES. 291: 

** My best coat was taken possession of by pussy 
*ind kittens, so I whipped on '' — (hardware-man) 
** a dripping pan." 

**The monkey, seeing how funny I looked, 
snatched off my wig, and clapped on my head" — 
Poulterer) '^a fat hen." 

*'I now awoke my wife, and asked her what she 
had nice for breakfast; she said" — (Doctor) *' a 
mustard plaster." 

''Then I scolded Sukey, the servant, and called 
her " (Poulterer) *' a tough old turkey." 

"But she saucily told me I was no better than " 
— (Music-seller) *'an old fiddle." 

" I soon had enough of that, so I asked my wife 
to go with me to buy " — (Tailor) "a pair of trous^ 
ers." 

'*But she said she must have her lunch first, 

which consisted of " etc., etc., through half 

a dozen pages, the tradesmen supplying more or 
less appropriate articles to fill up the gaps in the 
discourse. 

**ATripTo Paris." 

There is another game on the same principle^ 
known by the somewhat ambitious title of ''The 
most Laughable Thing on Earth ; or A Trip to 
Paris. ' ' The tickets for this game are nearly 150 in 
number, each containing name and grotesque sketch 
of some article or articles, as " a hod of mortar, " * * a 
guinea-pig," "a basin of gruel," "a wheelbar- 
row," *'a jar of pickles," **a tub of soft soap," 
'*two dozen eggs," "Jemima's new bonnet," 
' ' some castor-oil, " "a penny whistle, " * ' a peck of 
peas." etc., etc. The game is full of innocent 
nonsense and played precisely as in the last case 
(save that there is no reference to any particular 
trades). The story to be read by the leader com- 
mences as follows : 

"Brown, Jones, and Robinson were walking 



^92 HOW TO AMUSE. 

together in the streets of Boston, when Brown sud- 
denly exclaimed, ' I will go to Paris, and return 
the personification of ' 

" * I, too,' said Jones, * should like to see Paris, 

but I have not got ' 

** *And I should like to accompany you,' said Rob- 
inson, ' if I knew ' 

*'*Gowitli us then," said Brown, 'and we'll 
liave ' 

** * There's an excursion train to New York in 
the morning; we can see the *' lions" there on 
our way, and then take * 

** It was now * Pack and off! ' Brown went to 
bid his friends good-bye, giving to each a parting 
gift To an old schoolfellow he gave 

** To Matilda Jane, a young lady who laid claim 
ix) his heart, he gave, with a kiss, 

**Now, Matilda Jane would not be outdone, so 
f»he kissed him twice, and begged him to accept 
-of 

'* Brown was perplexed, but he took the gift, 
and going home was saluted by the children, who 
shouted, ' There goes a man with ' 

** That night he had wonderful dreams; he 
thoug^ht he was chased by 

**And that he was trying to crowd into his car- 
petbag 

** When a man came along and charged him with 
stealing 

** He was enraged at this, and was about to pitch 
into the man, when he awoke, and found it all a 
-dream, caused by his having eaten for supper 



'* He was early at the station, and on asking for 
a ticket, the clerk gave him '' 

And so on, in like manner. These last games, 
;as a change from graver recreations, make a good 
•deal of fun, particularl}' with young players. 



JUVENILE GAMES. t^ 

The Cook who Doesn't Like Peas. 

The fun of this game depends on a fair proper-- 
tion of the players not being acquainted with it. 
The leader begins, addressing the first player, ** L 
have a cook who doesn't like peas (p's); what will 
you give her for her dinner ?' ' The person addressed^ 
if acquainted with the secret, avoids the letter j> in 
his answer, and, for example, says, **I will give 
her some walnuts." The question is then asked of 
the second person, who, if unacquainted with the 
trick, is likely enough to oflfer some delicacy which 
contains the letter p; e.g., potatoes, asparagus,, 
pork, apple-pie, pickled cabbage, peanuts, etc., etc. 
When this occurs, the offender is called upon to 
pay a forfeit, but the precise nature of his offence 
is not explained to him. He is simply told, in an- 
swer to his expostulations, that ** the cook doesn't 
like />'^. " When a sufficient number of forfeits has 
been extracted, the secret is revealed, and those 
who have not already guessed it are aggravated by 
being told over and over again that the cook did 
not like />'j, and if they would persist in giring 
them to her, they must, of course, take the coa-- 
sequences. 

Word-making. 

It is surprising what a fund of amusement may 
be derived by the children from four or five alpha- 
bets, printed on card-board, and then cut up into, 
say, half-inch squares, with a single letter on each. 
A double supply of vowels will be found an advan- 
tage. The most simple mode of using the alpha- 
bets is for one person to pick out the letters forming 
some word, e.g., ** nevertheless," and then hand 
them, well mixed together, to another player, who^ 
endeavors to discover what word they form. 



:294 HOW TO AMUSE. 

Another game is played as follows. — ^The play- 
ers, each of whom is supplied with paper and pen- 
cil, are divided equally into two sides, and the 
leader having selected a word, suppose ^* notwith- 
>standing," each party sets to work to see how many 
-different words they can make of the same letters. 
(Thus from the word above suggested may be made 
**not, with, stand, standing, gin, ton, to, wig, wit, 
his, twit, tan, has, had, an, nod, tow, this, sat, that» 
sit, sin, tin, wing, what, who, wish, win, wan, won,'* 
and probably a host of others. ) A scrutiny is then 
taken, all words common to both parties being 
struck out. The remainder are then compared, and 
the victory is adjudged to the one having the 
largest number of words. 

Sometimes the division into sides is dispensed 
with, and each player depends on himself. Another 
purpose for which the alphabets in question is used 
is that of forming anagrams^ in the composition of 
which they are a verj^ great assistance, but this 
is hardly simple enough for children. We are 
inclined to doubt whether the results obtained in 
this game bear a fair proportion to the labor in- 
volved ; though it is unquestionable that once in a 
way an anagram is produced that is curiously 
^appropriate. We may instance the following: 

Telegraph, Great help, 

Florence Nightingale, Flit on, cheering angel, 

Astronomers, Moon starers. 

A fourth Spelling Game is played by each person 
drawing, say twenty letters hap-hazard, and trying 
to form them into a sentence, the palm of merit 
being awarded to the player who at the same time 
produces the most coherent phrase, and also suc- 
ceeds in using the greatest proportion of the letters 
assigned to him. 



JUVKNILE GAMES. 295 

The '* Young Foi.ks' Concert." 

The little players sit or stand round the room in 
a circle. The leader assigns to each some musical 
instrument, as harp, flute, violoncello, trombone, 
etc., and also selects one for himself. Some well- 
known tune is then given out, say ** Yankee 
Doodle," and the players all begin to play accord- 
ingly, each doing his best to imitate, both in sound 
and action, the instrument which has been assigned 
to him, the effect being generally extremely har- 
monious. The leader commences with his own 
instrument, but without any warning suddenly 
ceases, and begins instead to perform on the 
instrument assigned to one or other of the pla3^ers. 
Such player is bound to notice the change, and 
forthwith to take to the instrument just abandoned 
by the leader, incurring a forfeit if he fails to do so. 

Mary's Litti^k Lamb. 

This is a great favorite with the young folks. 
When everything else has become tiresome, some 
one starts the first line of the verse, 

Mary had a little lamb. 

Fleece as white as snow, etc. 

All sing, and on the second verse being reached 
the last syllable of the first line is dropped, then 
the next to the last, the third, the fourth and so on, 
until the line is totally omitted. The aim of the 
singers is to keep exact time, counting a beat for 
each omitted syllable, and any one whose voice 
breaks in when all should be silent, pays a forfeit. 
The same can be done with *' John Brown's Body," 
repeating the first verse and omitting syllable after 
syllable at the end of the first line until there is 
nothing left to sing but the chorus. 



296 HOW TO AMUSE. 

Funny Outi^inks. 

The artistic faculty of the young folks is iti this 
case brought into requisition . Slips of paper being 
distributed, each young player marks on his slip 
a crooked line of any shape he or she pleases. The 
papers are then exchanged, and each has to draw 
some sort of figure, working in as part of the out- 
line the crooked line already drawn by his 
neighbor. 

The best plan in this game is to allow the line 
already drawn, if possible, to suggest some figure, 
and to work out that idea. It is of course under- 
stood that the worksof art to be produced are only 
expected to be of the very roughest description. 
If there is a difficulty in dealing with the outline 
as it stands, the player is entitled to place it on its 
side, or even upside down, if he prefers it. 

Thus a curve may suggest a swan, a square may 
gire a hint of a house, a wave-line of a snake or an 
eel, a long sweeping curve may fit in as a horse's 
back, or an irregular outline may afford an idea for 
a comical face. The sketches produced with strict 
re^^rd to the conditions of the game will be found 
full of fun and novelty, if not characterized by any- 
kigk d^ree of art. 



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